North Carolina School of the Arts Catalog [1984-1985]

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The catalog, published annually, provides the basic information you will need about the North Carolina School of the

Arts. It includes our history and current goals, admissions standards and requirements, tuition and other costs, sources of financial aid, and the rules and regulations that govern student life at NCSA. This catalog also describes our student organizations and other activities on the campus, lists courses and programs by department, and contains the name, rank, and educational background of each faculty member. Students are responsible for knowledge of information as published. However, the School reserves the right to make changes, as needs dictate, in tuition, personnel, curriculum and rules and regulations.

The North Carolina School of the Arts is committed to equality of educational opportunity and does not discriminate against applicants, students, or employees based on race, national origin, religion, sex, age, or handicap. Moreover, NCSA is open to people of all races and actively seeks to promote racial integration by recruiting and enrolling a larger number of black students.

Yours Sincerely,

Jane Milley Chancellor Catalog 1984/ 1985

NORTH CAROUNA SCHOOL OF THE ARTS

Jane Milley, Chancellor

Dance • Design and Production Drama • Music • Visual Arts

Graduate, college and secondary education for careers in the performing arts

Accredited by the Southern Association of Colleges and Schools and by the North Carolina Department of Public Instruction

One of the sixteen constituent institutions of The University of North Carolina

Post Office Box 12189 Winston-Salem, North Carolina 27117-2189 Area 919/784-7170 4-°°

(hereinafter called NCSA) is dedi- cated to equality of opportunity within its community. Accordingly, NCSA does not practice or condone discrimination, in any form, against students, employees, or applicants on the grounds of race, color, national origin, religion, sex, age, or handicap. NCSA commits itself to positive action to secure equal opportunity regardless of these characteristics.

NCSA supports the protections available to members of its community under all applicable Federal laws, including Titles VI and VII of the Civil Rights Acts of 1964, Title IX of the Educational Amendments of 1972, Sections 799A and 845 of the Public Health Service Act, the Equal Pay and Age Discrimination Acts, Sec- tion 504 of the Rehabilitation Act of 1973, and Executive Order 11246. For information concerning these provisions, contact:

Louis Jones, Jr. Equal Employment Opportunities Officer Administration Annex (919) 784-7170 Ext. 2502 Patsy M. Braxton Title IX and Section 504 Compliance Officer Room 318, Student Commons Building (919) 784-7170 Ext. 2579 P.O. Box 12189 Winston-Salem, NO 27117-2189

2 CONTENTS

Administration 142 Admissions/Auditions 130 Alumni 149 Appendix 154 Application Request 157 Board of Governors 146 Board of Trustees 148 Board of Visitors 148 Calendar 6 Campus Map 156 Committees 145 Dance 10 Design & Production 26 Design & Production Graduate Program 44 Drama 52 Financial Aid/Scholarships 122 General Studies 98 History 7

Library ; 126 Music 66 N.C. Residency Requirements 137 NCSA Foundation 145 Purpose/History 7 Registration 133 Special Opportunities 8 Student Services 114 Summer Sessions 128 Tuition and Fees 139 UNC General Administration 147 UNC History 145 Visual Arts 40

3 S M T W T F S S M T W T F S S M T W T F S JANUARY MAY SEPTEMBER

1 2 3 4 5 6 7 1 2 3 4 5 1 8 9 10 11 12 13 14 6 7 8 9 10 11 12 2 3 4 5 6 7 8 15 16 17 18 19 20 21 13 14 15 16 17 18 19 9 10 11 12 13 14 15 22 23 24 25 26 27 28 20 21 22 23 24 25 26 16 17 18 19 20 21 22 29 30 31 27 28 29 30 31 23 24 25 26 27 28 29 30 FEBRUARY JUNE

1 2 3 4 1 2 OCTOBER

5 6 7 8 9 10 11 3 4 5 6 7 8 9 1 2 3 4 5 6 12 13 14 15 16 17 18 10 11 12 13 14 15 16 7 8 9 10 11 12 13 19 20 21 22 23 24 25 17 18 19 20 21 22 23 14 15 16 17 18 19 20 26 27 28 29 24 25 26 27 28 29 30 21 22 23 24 25 26 27 28 29 30 31 MARCH JULY

1 2 3 1 2 3 4 5 6 7 NOVEMBER

4 5 6 7 8 9 10 8 9 10 11 12 13 14 1 2 3 11 12 13 14 15 16 17 15 16 17 18 19 20 21 4 5 6 7 8 9 10 18 19 20 21 22 23 24 22 23 24 25 26 27 28 11 12 13 14 15 16 17 25 26 27 28 29 30 31 29 30 31 18 19 20 21 22 23 24 25 26 27 28 29 30 APRIL AUGUST

1 2 3 4 5 6 7 1 2 3 4 DECEMBER

8 9 10 1112 13 14 5 6 7 8 9 10 11 1 15 16 17 18 19 20 21 12 13 14 15 16 17 18 2 3 4 5 6 7 8 22 23 24 25 26 27 28 19 20 21 22 23 24 25 9 10 11 12 13 14 15 29 30 26 27 28 29 30 31 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31

4 1 3 2

5 M T W T F S S M T W T F S 5 M T W T F S JANUARY MAY SEPTEMBER 3 1 2 3 4 5 12 3 4 1 2 3 4 5 6 7 6 7 8 9 10 11 12 5 6 7 8 9 10 11 8 9 10 1112 13 14 13 14 15 16 17 18 19 12 13 14 15 16 17 18 15 16 17 18 19 20 21 20 21 22 23 24 25 26 19 20 21 22 23 24 25 22 23 24 25 26 27 28 27 28 29 30 31 264 27 28 29 30 31 29 30

FEBRUARY JUNE OCTOBER

2 1 1 2 3 4 5 4 5 6 7 8 9 3 4 5 6 7 8 6 7 8 9 10 11 12 10 11 12 13 14 15 16 91011 1213 14 15 13 14 15 16 17 18 19 17 18 19 20 21 22 23 16 17 18 19 20 21 22 20 21 22 23 24 25 26 24 25 26 27 28 23 24 25 26 27 28 29 27 28 29 30 31 30 MARCH NOVEMBER

1 2 JULY 1 2

3 4 5 6 7 8 9 1 2 3 4 5 6 4 5 6 7 8 9 10 11 12 13 14 15 16 7 8 9 10 11 12 13 10 11 12 13 14 15 16 17 18 19 20 21 22 23 14 15 16 17 18 19 20 17 18 19 20 21 22 23 24 25 26 27 28 29 30 21 22 23 24 25 26 27 24 25 26 27 28 29 30 31 28 29 30 31 DECEMBER

APRIL AUGUST 1 2 3 4 5 6 7

1 2 3 4 5 6 1 2 3 8 9 10 11 12 13 14 7 8 9 10 11 12 13 5 6 7 8 9 10 15 16 17 18 19 20 21 14 15 16 17 18 19 20 11 12 13 14 15 16 17 22 23 24 25 26 27 28 21 22 23 24 25 26 27 18 19 20 21 22 23 24 29 39 31 28 29 30 25 26 27 28 29 30 31

5 1984 Fall Term (Wed.) September 12 REGISTRATION (Thurs.) September 13 All Classes Begin (Tues.-Wed.) November 20-21 Final Examinations (Wed.) November 21 All Classes and Exams End- 6;00 p.m. (Thurs. -Sun.) November 22-25 THANKSGIVING BREAK (Mon.) November 26 Intensive Arts Begins (Fri.) December 7 Intensive Arts Ends- 6:00 p.m. (Sat.-Wed.) December 8 - CHRISTMAS VACATION January 2

1985 Winter Term (Thurs.) January 3 REGISTRATION (Fri.) January 4 All Classes Begin (Thurs. -Fri.) March 14-15 Final Examinations (Fri.) March 15 All Classes and Exams End 6:00 p.m. (Sat. -Sun.) March 16-24 SPRING BREAK

1985 Spring Term (Mon.) March 25 REGISTRATION (Tues.) March 26 All Classes Begin (Wed.) May 15 AWARDS DAY (Wed. -Thurs.) May 29-30 Final Examinations (Thurs.) May 30 All Classes and Exams End 6:00 p.m.

(Sat.) June 1 COMMENCEMENT

Summer Session 1985 (Sun.) June 23 REGISTRATION (Mon. -Fri.) June 24-July 26 5-Week Session

6 The North Carolina School of the Arts “It is hereby declared to be the policy of Robert Ward, Pulitzer Prize winning com- has a special mandate to train talented the State to foster, encourage, and pro- poser, served as chancellor from 1967 young people for careers in the perform- mote, and to provide assistance for the until 1974 when he resigned to devote ing arts. cultural development of the citizens of more time to composing. During Dr. North Carolina and to this end the Gen- Ward’s tenure as chancellor, the School For those seriously committed to careers eral Assembly does create and provide more than doubled its faculty and enroll- in dance, design and production, drama for a training center for instruction in the ment. A unique School of Design & Pro- and music, professional instruction and performing arts.” duction, which includes the high school professional standards must apply from —North Carolina General Assembly, 1963 visual arts program, was added in 1969. the beginning of training— as soon as Dr. Ward was deeply involved in the unusual talent is evidenced. By the act, the North Carolina School of founding of the Piedmont Chamber the Arts opened in September 1965 under Orchestra, the North Carolina Dance

Students accepted for admission are the leadership of its first president, the Theatre, the foreign programs in music given thorough professional training sup- late Dr. Vittorio Giannini, the eminent and dance, and the school repertory plemented by a strong general studies American composer. tours in dance, drama and music, to the curriculum. The intent of the School is to state and region. provide each student with the prepara- When the School became one of the six- tion for a successful career in one of the teen constituent institutions of The Uni- performing arts and with the liberal edu- versity of North Carolina the following cation vital to the contributing artist and statute was adopted: informed citizen in our society.

“There is hereby established, and there While established primarily for talented shall be maintained a school for the pro- students from North Carolina and the fessional training of students having excep- southeastern region — grades 7 through tional talent in the performing arts which the graduate level—the North Carolina shall be defined as an educational insti- School of the Arts accepts students from tution of the State, to serve the students all areas, offering a challenging atmos- of North Carolina and other states, par- phere created by association with other ticularly other states of the South. The gifted students and artist/ teachers in the school shall be designated the North allied performing arts. Carolina School of the Arts.” — 1971

Vittorio Giannini, composerand founder of the North Carolina School of the Arts,

served as its first president from 1965 until his untimely death in 1967.

7 Robert Suderburg, composer, served as Performances ing them to acquire valuable professional chancellorfrom 1974 until 1983, when he An integral part of training for careers in performing experience prior to gradua- announced his resignation to pursue the performing arts is rehearsal and per- tion. Over one-third of the student body other interests. Primary thrusts in Dr. formance. Over 350 performances each is annually approved by the arts faculties Suderburg’s administration emphasized year keep students on stage. forthese public performances. Musicians the performing arts as vital for the quality offer classical, jazz and easy listening of life in this state and the nation, and Visiting Artists repertories; drama students work as projected the North Carolina School of Adding to the experience of performing mimes, clowns, jugglers and troubadours; the Arts as an institution offering unique artist/teachers are internationally recog and jazz dancers perform particularly for and broadly-based public service while ized professional musicians, dancers, universities and outside arts festivals. providing professional training in the choreographers, directors, designers and Students also teach workshops. performing arts. He promoted and ex- actors and actresses who are brought to tended the School’s statewide perfor- NCSA for specialized work with students. Community Services mance/workshop programs in the public Each school has a listing of visiting A part of the founding purpose of the schools and diversification of summer artists here during the past year. North Carolina School of the Arts is the program offerings for the aspiring per- provision of opportunities for cultural forming arts student. He established a Intensive Arts enrichment to North Carolina citizens. In series of contemporary performances Two weeks at the end of the fall term are addition to the public performances annu- which included widely-known guest used as an intensive arts period. Replac- ally which emerge directly from the per- artists in the fields of music, drama and ing regularly scheduled classes are forming arts training programs, NCSA mixed media, who performed along with independent study, special projects, generates a variety of cultural events faculty and students, presenting a wide workshops and performances within and specifically as community service; range of innovative programs. across disciplines. An annual public school touring pro- Lawrence Hart, former Dean of Music at Applause gram, funded by the state, sends NCSA the University of North Carolina at Greens- The NCSA student employment agency students to share their talents with high boro, was called out of retirement to serves community needs by providing school and other students across the become Acting Chancellor of the School entertainment programs from the Schools state, also recruiting those with potential for the academic year 1983-84. of Music, Drama, and Dance for a wide talent as professionals in the performing variety of functions such as conventions, arts. Dr. Jane Milley was appointed Chancel- receptions, churches, weddings, meet- lor in July, 1984. ings, banquets, and education and recrea- Through the Comm unity Service division, tion programs. Students perform primar- the resources of all the performing arts ily throughout the state, but some book- disciplines can be channeled to meet ings take them into neighboring states. state-wide public service needs and These paid performance engagements requests. not only supplement student income, but also broaden their curriculum, allow-

8 V & Other community services are provided directly through the various schools of NCSA. The School of Dance, for exam- ple, offers a pre-professional program of dance instruction for public school children, free of charge. The School of Music, through its Community Music School, offers private and group instruction in virtually every instrument to school-age children and adults of any age. Singers in the Community can participate in a choral program, the Cantata Singers, with NCSA students.

Each of the performing arts schools further contributes enrichment to North

Carolina’s cultural life through the operations of NCSA’s five professional affil- iates and their state-wide and out-of- state impact: North Carolina Dance Theater, North Carolina Shakespeare Festival, North Carolina Scenic Studios, Inc., and Piedmont Cpera Theatre, Inc.

Public School Touring Each of the four arts schools at NCSA prepares performances or services for North Carolina public schools that provide entertainment and/or informative programs about the arts or NCSA. This touring program ranges in size from one person offering master classes to a full orchestra or repertory company and performs to student audiences. The tours are scheduled during the school year, all over the state of North Carolina, and are booked in schools either because of an expressed interest or need in a specific area. The Joan Hanes Theatre of the Stevens Center

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The purpose of the School of Dance isto Special consideration may be given col- Robert Lindgren, Dean of the School of recognize and train young and talented lege students who have completed their Dance (1965): Director, North Caro- dancers who seek a professional career general studies requirements and are lina Dance Theater in the field of dance and to make availa- working toward a degree and who leave Born in Victoria, B.C., Canada. Began studies with Dorothy Wilson and June Roper in Can- ble to them instruction of the highest the School of the Arts to accept profes- ada. Studied with Maria Yurieva, Anatole Vil- professional level by a faculty of outstand- sional opportunities before finishing the zak, Pierre Valdimiroff, IgorSchwezoff in New i ng teachers chosen fortheir knowledge required four years of college arts York, with Olga Preobrajenska in Paris. France. and experience in the field of dance as program. Featured artist with Ballet Theatre, Ballet performers and teachers. Russe de Monte Carlo, Alexandra Danilova in her “Great Moments of the Ballet,” and the Special awards are available in the School New York City Ballet. Appeared on Broad- Recognizing that it is necessary to begin of Dance. For details see section on way, national television, with the U.S. State their training at an early age when the Financial Aid and Special Awards. Department, and other tours. With his wife. body and mind are flexible, the School SonjaTyven, established the Lindgren-Tyven School of Ballet in Phoenix, Arizona. Has may enroll talented young students at NORTH CAROLINA been Dean of the School of Dance since the junior high school level as well as DANCE THEATER NCSA opened in 1965. In 1970, founded the high school and college levels. Their North Carolina Dance Theater and is cur- artistic and academic education is con- Robert Lindgren, Director rently its director. Awards include honorary doctorate from Wake Forest University, the tinued simultaneously through these Salvatore Aiello, Associate Director North Carolina Award, given by the governor, levels. High school graduates will receive which is the state's highest honor, and the Founded as a professional affiliate of the a State of North Carolina high school Morrison Award for significant achievement NC School of the Arts in 1970, NORTH diploma and college graduates a Bache- in the arts in North Carolina. Consultant for CAROLINA DANCE THEATER has be- lor of Fine Arts degree. A Diploma will be the National Endowment, the Ford Founda- come one of the most highly-acclaimed tion, and the National Arts Award Education given to those college students who do and sought-after companies in America Testing Service. not fulfill the general studies require- today. Traveling for 20-30 weeks each Briggs, Administrative Secretary ments for graduation but who complete Bebe season, the company has appeared from (1981) their artistic requirements as set by the England to Florida, as far West as School of Dance. New Louise Bahnson, Secretary (1981 Alaska, and in five European countries. Duncan Noble, Assistant Dean (Ballet), Since performance is an integral part of Adagio, Men’s Class, Ballet Technique The company of 16 dancers, many of the training of the young dancer, the (1965) of School of the opportun- whom have trained at the NC School Dance provides Ballet dancer, modern dancer and choreo- the Arts, performs a diverse repertoire of ity for the students to appear in a reper- grapher. Began studies with June Roper in classical works. tory of classical and modern dance both and contemporary Vancouver, Canada. In NewYork studied with through workshop and public perform- Included are ballets by such choreo- Helene Platowa, a pupil of Asaf Messerer and TaniaChamie, aCecchetti pupil underDiagh- ances. graphers as Bournonville, Petipa, and ilev. Worked with Michel Fokine, Leonide Balanchine, as well as modern works by Massine, Agnes de Mille, Jerome Robbins, Bill Evans. half- The School of Dance also offers a varied Senta Driver and A Helen Tamiris, Jack Cole. Started career with and intensive five week summer dance dozen new works, many of them com- American Ballet Theatre. Featured soloist. program. missioned, are added each season. Ballet Russe de Monte Carlo. Appeared in

11 several Broadway shows and with modern and Valerie Panov. Appeared with American of American Ballet and American Ballet The- dancer Valerie Bettis in New York and on tour. Ballet Theatre (1976-1983) with soloist roles atre School. Received New York City’s Han- Featured on NBC-TV spectaculars. Resident in "Swan Lake,” "Giselle,” and "Concerto.” del Medallion and Dance Magazine Award. choreographer and director summer stock She also worked with such choreographers (1965- as George Balanchine, Mikhail Baryshnikov, and ballet groups throughout U.S. Dianne Markham, Modern (1980) 1969) member NEA Dance Panel. Agnes de Mille, and Anthony Tudor. During her career she continued to study with Mag- B.A. in Dance, University of Oregon, Eugene. Received her professional training with Hanya Richard Kuch, Assistant Dean (Modern) gie Black. Holm, Alwin Nikolais, Murray Louis, and Phyl- (1972) lis Lamhut. Toured, taught, and performed Began training with Martha Graham. Soloist Richard Gain, Modern (1973) internationally with the Murray Louis Dance with Martha Graham touring U.S. Company, including performances with "Nure- Company Soloist with Jerome Robbins “Ballets U.S. A.” Europe. Soloist for major modern cho- yev and Friends” in London, Paris and New and Martha Graham Company, New York City reographers Off and On Broadway. Chore- York City. Her works have been presented Center. Jeffrey Company and with American ographed for Les Grands Ballets Canadiens, across the United States, most recently at the Ballet Theatre receiving critical acclaim for Ballet of Portugal, Batsheva Dance Company Theatre of the Open Eye and the John F. portrayal of Hilarion in the Bruhn-Fracci of Israel, Utah Repertory Group, Ballet West Kennedy Center for the Performing Arts. She "Giselle.” An Affiliate Artist of New York. of Utah, Pittsburgh Ballet, Harkness Ballet is a member of the teaching staff for the Guest artist with companies abroad and major and the Boston Ballet. T aught at Connecticut Louis/Nikolais Dance Theatre Lab and her modern choreographers in New York. Toured College Sessions, Juilliard, colleges works are among the repertory of various U.S. Summer throughout Europe and Near and Far East for and universities throughout the U.S., Portu- dance companies. the U.S. State Department. Performed for gal, Sweden, Switzerland, England, Canada Presidents Kennedy and Johnson at the White and Israel. Recipient of National Endowment House. Worked on television with Matt Mat- Gyula Pandi, Ballet, Character Dance for the Arts grant three times. New York State tox, Carol Haney, Ernie Flatt, Gene Kelly and (1967) Council grant and the Doris Humphrey fel- John Butler. Appeared on Broadway in lowship. Co-director of Gaku Dance Theatre Trained and danced with the Hungarian Na- “Camelot,” "First Impressions.” Director of of New York. tional Ballet. own company for six years. Recipient of three National Endowment arts grants for chore- Katherine McGinnis Block, Dance His- ography. Choreographed and staged works Mabel Robinson, Modern (1984) tory and related subjects, Kinesiology for companies in Switzerland, Portugal, Eng- Graduate of High School of Performing Arts (1979) land, Israel, Salt Lake City, Interlochen Arts in New York City and the Juilliard School of Academy and the Harkness Ballet Company. B.A. Government, College of William and Music. Performed as a company member with Instructor at Martha Graham School, Neigh- Mary; M.A. in Dance, UCLA. Lecturer in Dance, Alvin Ailey, Martha Graham, and May O’Don- borhood Playhouse, Herbert Bergdorf, Vas- Scripps College and UC Riverside: Assistant nell. Appeared on Broadway in “Golden Boy” sar College. Dance Movement Specialist, NEA Artists-in- and “Treemonisha” among others. Also ap- Schools, San Diego: Baroque dance studies peared in movies “Funny Lady” and “The Wiz.” Director and choreographer for “Porgy with Angene Feves and Sandra Hammond at Melissa Hayden, Ballet, Pointe (1983) Cazadero Music and Arts Camp. and Bess” and “It’s So Nice To Be Civilized” A leading ballerina with New York City Ballet on Broadway, “Treemonisha” performed by and American Ballet Theatre. Appeared as Houston Grand Opera, “Indigo” for BBC tele- Franchon Cordell, Ballet, Pointe (1983) guest star with Britain's Royal Ballet and vision, and the assistant choreographer for A full scholarship student at Harkness Ballet Canadian National Ballet. Pioneered balleton the movie “The \A/iz.” School where she studied with David Howard television with Andre Eglevsky and wasa reg- and Maria Vegh. After her studies appeared ular star on the Ed Sullivan Show. Appeared Joan Sanders, Ballet, Pointe with Ballet Repertory Company directed by on film with Charlie Chaplin in "Limelight.” (1967) Richard Englund and also with the Eglevsky Balanchine’s "Agon” and “Stars and Stripes” Studied with Nicholas Vasilleff in Portland, Ballet Company on a U.S. tour with Galina were made especially for her. Taught at School Oregon, and at the School of American Ballet,

12 )

Ballet Theatre School and in Paris. Danced Sonja Tyven, Ballet, Pointe; Director of Agnes de Mille, Duncan Noble, Richard Gib- with the American Festival Ballet and Nether- Pre-Professional Program (1965) son, Pauline Koner, Nelle Fisher, Richard lands Dance Theatre. Toured Europe, Israel, Englund, Robert Lindgren, George Balanchine, Received her early dance training in Scandanavia. Taught at the Vasilieff School New Charles Czarny, Kazuko Hirabayshi, Norbert York City from Vecheslov Swoboda, Maria and at own school in The Hague. In 1975 Vesak, Alvin Ailey, Job Sanders, Yurieva Swoboda and Igor Schwezoff. Ap- received HEW grant for faculty development. Richard Kuch, Richard Gain and for the peared as a leading soloist with Ballet Russe Eglevsky Ballet Co., Royal Winnipeg Ballet, de Monte Carlo, the New York City Ballet, and Breanetta Mason, Costume Construction Metropolitan Opera Ballet, Augusta Civic Bal- with Alexandra Danilova in her “Great Moments let, Atlanta Contemporary Dance, Alberta (1970) of the Ballet”. Her performing also includes Ballet Co., Jerry Rose Dance Company, Aca- University, For- work in the Broadway musical theater and on Attended Winston-Salem State demy of Dance for the Performing Arts, Illi- national syth Technical Institute (Free-Hand Drawing television. After a rewarding per- nois. Head of Wardrobe for N.C. DanceTheater Classes), North Carolina School of the Arts forming career, Ms. Tyven developed a suc- and costume construction 1970. (Costume History and Art Classes). Con- cessful ballet school in Phoenix, Arizona structed costumes for Frederic Classical Bal- along with her husband, Robert Lindgren. Carolyn Fay, Costume Designer (1978) let, Easy Moving Dance Company, Augusta During the 1976-77 season, Ms, Tyven served B.A. in English from College of Charleston; Ballet, Pierres Inc., Mime Troupe and Etta as Artistic Director of the Richmond Ballet in M.A. in Theatre, Northwestern University, Fol- Galioher School of Dance. Richmond, Virginia playing a significant role Designed and lowing one-year appointment as Production constructed costumes for TV commercials, in developing that company's school and per- Manager and Costumer at University of Illi- constructed for choreographers forming capabilities. For ten years, member costumes nois, Chicago Circle, 1970-76, designed cos- George Balanchine, Richard Englund, Jean of the faculty of the North Carolina School of tumes and scenery in London, Ontario includ- the Arts. Also served as Associate Director of Perrot, Joe Emery, Richard Gibson, Charles ing such productions as “La Mandragola,” Czarny, Valerie Danilova the North Carolina Dance Theater for the Bettis, Alexandra “Indians,” “Heartbreak House,” “The Change- and Agnes Mille. 1977-78 season. Has taught master classes at de ling,” and “Fiddler on the Roof.” Has done School of American Ballet’s summer session free-lance costume design for Wake Forest Frank Smith, Ballet, Adagio, Men’s Class as well as at regional ballet festivals. Also University including “The School For Wives” served as consultant to the Ford Foundation. (1983) and “Cabaret." Born in Hamlet, NC. Attended NCSA from 1965-69. Received a full scholarship at the Gina Vidal, Ballet, Pointe (1969) School of American Ballet where he studied Full scholarship student for six years at the with Andre Eglevsky, Alexandra Danilova, School of American Ballet; studied under and Stanley Williams. Joined American Ballet Eglevsky, Stuart, Doubrovska, Danilova, Wil- Theatre in 1970. Became soloist in 1976. Dur- liams, Balanchine. After graduation joined ing his professional career trained with David the Harkness Company and laterdanced with Howard, Michael Eland, and Maggie Black. the American Ballet Theatre. Toured Amer- Among his principal roles with ABT were ica, Europe, Africa and the Far East. Guest Hilarion in “Giselle,” Pat Garrett in “Billy the artist with the North Carolina Dance Theater Kid” and other leading roles in ballets by de and Theatre de San Carlos in Portugal. Mille, Tudor, Robbins, Balanchine, Barysh- Accompanists nikov, and Makarova. Appeared in the film Evelyn Miller, Supervisor, Dance Cos- “The Turning Point" and performed soloist Celeste Connes tume Department (1971 roles in numerous specials on public televi- Raymond Ebert sion including Dance in America (“Billy the Forsyth Technical Institute, costume Trainee Carole McGee Kid,” “ABT - A Close-up in Time”) and on Live NCSA 1968-70, instructor in Costuming for Sylvia L. Messick from Lincoln Center (“Giselle,” “Sleeping Design and Production 1971-72. Designer for Beauty," “La Bayadere,” “Don Quixote,” and Magic Harbor, Myrtle Beach 1979; constructed Frank Partridge “Swan Lake”). costumes for noted choreographers such as Hashim Salih

13 Admission to the Program Applicants will audition before a jury of dance faculty members. A faculty member from the School of Dance will give all the steps and combinations to be performed. All applicants must wear practice clothes. Ballet applicants must also wear ballet shoes. Ballet girls may be asked to do pointe work. Modern dance applicants are asked to prepare a solo.

After admission and upon registration following an evaluation, students are placed in the program at the proper level of accomplishment.

The junior high and high school student dancers, through daily classes, acquire a substantial foundation in dance techniques— ballet and modern.

At the college level, dance majors continue their concentration of the mastery of dance techniques, along with courses in dance history and the development of requisite musical and rhythmic skills.

Dance composition is offered to modern dance majors.

Sanford Scholarship Competition Sanford Scholarship Competition, Fri- day, January 25, 1985 (open only to North Carolina High School students). Four full scholarships to be awarded— one each in the fields of Dance, Design and Production or Visual Arts, Drama and Music.

Erica FIschbach, Michael Reed and Colleen Tamayo In Balanchine’s “Serenade.”

14 Audition Dates and technique. Grading of performance ballet majors or modern majors. How- Auditions will be held at the North Caro- in dance is based on grades from each ever, all students receive training in both lina School of the Arts on the following individual teacher. disciplines. The high school ballet stu- dates: dent must have reached at least twelve A Extraordinary (12) years of age and be in the seventh February 8, 22 (College level only), March A- Excellent (7th) grade to be admitted to the pro- 8. 29 (High School only) B+ Very Good gram. The high school modern student B Good (Off campus dates are available for ballet must be in the eleventh (11th) grade to B- Passing majors at regional ballet festivals) be admitted into the program. The stu- C+ Unacceptable* dent must also satisfactorily complete F Failing Continuance in the Program the course of studyforhigh school grad- Students are invited to continue in the A student must attend 75% of his/her uation outlined on page 102. program only as long as they demon- dance classes in order to receive a grade. strate substantial growth towards technical and artistic excellence. College Program *To receive an invitation to continue in The health of the student is also consi- the School of Dance, a student must Awarding of Bachelor of Fine Arts Degree dered of prime importance in the School maintain a B average in dance. and Diploma of Dance. The rigors of training demand The Bachelor of Fine Arts degree and disciplined appli- Diploma are awarded on the basis of the a strong and body. An Pre-Professional Program cant is expected to maintain a proper attainment of professional standards as Inaugurated in 1979 as a pilot program in for determined by the faculty of the School weight his/her age and physique. cooperation with the Winston-Salem/For- of Dance. syth County public school system, the Grading System program offers free classes weekly to Bachelor of Fine Arts Degree Require- Students upon entering the School will selected public school children in grades ments for Ballet Majors be given a probationary period of one four, five and six. Conceived as a com- Classes in Pointe/Variations, Adagio, Bal- year to test their abilities. Continuance munity service, the program, directed letTechnique, Modern DanceTechnique, in the program is by invitation. A cumula- and taught by Sonja Tyven, is intended Character, Music for Dancers, Kinesi- tive 3.0 average in dance is required to be both to strengthen dance instruction in ology, Dance History, Renaissance Dance, considered foran invitation to return. An the public schools and to prepare prom- Baroque Dance, 20th Century Dance, overall cumulative average of 2.0 in gen- ising in-state residents to qualify by Jazz, Choreographic Stylesand Perform- eral studies is required for college grad- audition to enter the professional pro- ing. General Studies Requirements: Gen- uation. gram at the seventh-grade level. eral Studies 101, 102, 103; Human Ana- Three juries are held during the year in tomy & Physiology (one year); Modern which the students are judged by the High School Program Foreign Language (two years); Founda- entire faculty. Students are graded in the The core of the high school program is tions of Values in the Humanities and the following categories; attitude in class, based on acquiring a strong foundation Arts (one year); World Art (one year); or comprehension, attendance, progress in dance technique. Students are either The Arts in Context (one year); Nutri-

15 tion; and General Studies Electives (3 credits).

Bachelor of Fine Arts Degree Require- ments for Modern Dance Majors Classes in Modern Dance Technique, Ballet Technique, Character, Composi- tion, Repertory, Musicfor Dancers, Kinesi- ology, Dance History, 20th Century Dance; presentation of a group or solo work of the student’s own choreography, and performing. General Studies Require- ments: General Studies 101, 102, 103; Human Anatomy & Physiology (one year); Modern Foreign Language (one year); ^^*^4 h f '' " Foundations of Values in the Humanities \ ' and the Arts (one year); World Art (one year) or The Arts in Context (one year); and General Studies Electives (lOcredits).

It is recommended that students take the remainder of their general studies elective hours from the following groups of courses: Literature, Philosophy, History, Sociology and Math/Natural Science.

Art Diploma All dance courses for the Bachelor of Fine Arts Degree with the exception of Kinesiology, are required forthe Diploma with the same performance and satisfactory completion levels expected. No general studies courses are required for the

Diploma. Electives may be taken if de- sired.

Eddie Stierle and Cydney Spohn In Bournonville’s “Flower Festival at Genzano.”

16 winter Dance Concert, 1982 Requirements for a Bachelor of Fine Arts Degree in Ballet

First Year Credit Second Year Credit Third Year Credit Fourth Year Credit

DAN 101. 102. 103 DAN 201. 202. 203 DAN 301, 302. 303 DAN 401. 402, 403 Ballet Technique 9 Ballet Technique 9 Ballet Technique 9 Ballet Technique 9 DAN 104. 105, 106 DAN 204. 205. 206 DAN 311. 312. 313 dan 411, 412. 413 Modern Technique 3 Modern Technique 3 Pointe/Variations 3 Pointe/Variations 3 DAN 111. 112. 113 DAN 211, 212. 213 or or Pointe/Variations 3 Pointe/Variations 3 DAN 314, 315. 316 dan 414, 415, 416 3 or or Men's Class 3 Men's Class DAN 114. 115. 116 DAN 214, 215. 216 DAN 320 Character 2 DAN 420 Character 2

Men's Class 3 Men's Class 3 DAN 331 . 332. 333 Adagio 3 DAN 431, 432 Adagio 2 132. 133 Adagio 232. Adagio 3 190 Kinesiology 2 DAN 365 Choreographic Styles 2 DAN 2 DAN 231 , 233 DAN DAN 120 Character 2 DAN 220 Character 2 DAN 290 Advanced Kinesiology 2 DAN 267 Renaissance Dance 2 DAN 137. 138. 139 DAN 151. 152. 153 DAN 269 20th Century Dance 2 DAN 268 Baroque Dance 2 Technical Theatre & Fundamentals of Music 3 DAN 300 Performing 3 DAN 400 Performing 3 Production Crew 6 DAN 161, 162. 163 GES 211, 212, 213 25 DAN 141. 142. 143 Jazz 3 Dance History Survey 6 Foundations of Values Total Credits for degree 162 DAN 100. Performing 3 DAN 200, Performing 3 in the Humanities & General Studies credits 48 GES 101. 102. 103 SCI 221. 222, 223 the Arts 6 Arts Credits (Dance) 114 Critical Perspectives ' 6 Human Anatomy SCI 210 Nutrition 3 GES 124. 125. 126 and Physiology 6 General Studies Elective 3 World Art or Foreign Language Elective 9 38 GES 121. 122. 123 47 The Arts in Context 6 Foreign Language Elective 9 52

Requirements for a Bachelor of Fine Arts Degree in Modern Dance

First Year Credit Second Year Credit Third Year Credit Fourth Year Credit DAN 101, 102. 103 DAN 201. 202, 203 DAN 301. 302. 303 DAN 401, 402, 403 Modern Dance Technique 9 Modern Dance Technique 9 Modern Dance Technique 9 Modern Dance Technique 9 DAN 104. 105. 106 DAN 204. 205. 206 DAN 304. 305, 306 dan 404, 405, 406 Ballet Technique 3 Ballet Technique 3 Ballet Technique 3 Ballet Technique 3 DAN 137. 138. 139 DAN 320 Character 2 DAN 131, 132. 133 Adagio 3 DAN 231, 232, 233 Adagio 3 Technical Theatre & DAN 271. 272. 273 Composition 6 DAN 281, 282. 283 Repertory 3 DAN 499, Senior Recital 6 Production Crew 6 DAN 181, 182. 183 Repertory 3 DAN 190 Kinesiology 2 DAN 381, 382, 383 Repertory 3 DAN 171. 172, 173 DAN 151, 152, 153 DAN 290 Advanced Kinesiology 2 24 Composition 6 Fundamentals of Music 3 DAN 269 20th Century Dance 2 GES 101. 102. 103 DAN 161. 162, 163 DAN 300 Performing 3 Total Credits for Degree 159 Critical Perspectives 6 Dance History Survey 6 SCI 210 Nutrition 3 General Studies Credit 48 GES 124, 125. 126 GES 211. 212, 213 General Studies Elective 12 Arts Credits (Dance) 111 World Art or 6 Foundations of Values 42

GES 121, 122. 123 In the Humanities &

The Arts in Context 6 in the Arts 6 Foreign Language Elective 9 SCI 221, 222. 223 DAN 120 Character 2 Human Anatomy DAN 220 Character 2 and Physiology 6 49 44 Kara Petersen and Chris Brown In “The Nutcracker,” Christmas season, 1983.

19 Course Description DAN 120; DAN 220; DAN 320; DAN 420 Character Dance (2 Credits per Term) DAN 101, 102, 103; DAN 201, 202, 203; Basic ethnic dance styles as used in dance performance. Four terms DAN 301, 302, 303; DAN 401, 402, 403 required for Ballet Majors; three terms required for Modern Dance Ballet Technique (Ballet Majors) (3 Credits per Term) Majors. Fundamentals of ballet technique and practice, including barre and DAN 137, 138, 139 center floor work. Technical Theatre and Production Crew (2 Credits per Term) DAN 101, 102, 103; DAN 201, 202, 203; A series of three introductory courses in costuming, lighting and DAN 301, 302, 303; DAN 401, 402, 403 scenery, one each trimester. Basic design concepts are examined. Modern Technique Students learn the use of equipment and basic construction techniques. (Modern Dance Majors) (3 Credits per Term) Skills and knowledge gained in technical theatre classes are utilized in Basic technique of modern dance including barre work, center work, actual production duties with production crew assignments being floor work, isolation falls and recoveries, contraction and release. undertaken by the students. Each assignment is either as a member of DAN 104, 105, 106, DAN 204, 205, 206; a crew for a major production, or as a member of both the construction DAN 304, 305, 306; DAN 404, 405, 406 and running crews of a workshop production. Ballet Technique (Non Majors) (1 Credit per Term) DAN 131, 132, 133; DAN 231, 232, 233; Fundamentals of ballet technique and practice including barre and DAN 331, 332, 333; DAN 431, 432 center floor work. Adagio (Pas de Deux) (1 Credit per Term) DAN 104, 105, 106; DAN 204, 205, 206; Basic technique of partnering in dance performances. Required 4 DAN 304, 305, 306; DAN 404, 405, 406 years for ballet majors. Modern majors required to take two years. Modern Technique (Non-Majors) (1 Credit per Term) DAN 141, 142, 143

Basic technique of modern dance including barre work, center work, Jazz (1 Credit per Term) floor work, isolation, falls and recoveries, contraction and release. A presentation of jazz styles to broaden the student’s knowledge and Two years required for ballet majors; may be taken for elective credit technique of Broadway and theatre dance. One year required for ballet third and fourth years. majors. Pass/fail grade.

DAN 100, 200, 300, 400 DAN 151, 152, 153 per Performing (3 Credits Term) Fundamentals of Music (1 Credit per Term) Students will be chosen for performances based on their ability by the A study of meters, rhythms, phrase shapes and musical forms. Analy- Dean of Dance and a panel of faculty. They will appear in either sis of masterworks of music literature. workshops or public performances. Four years required for Ballet DAN 161, 162, 163 Majors; DAN 300 required for Modern Dance Majors. Pass/Fail grade. Dance History Survey (2 Credits per Term) DAN 111, 112, 113; DAN 211, 212, 213; Introduction to concepts of studying dance history: cultural context, DAN 311, 312, 313; DAN 411, 412, 413 chronology, etc. Overview of early dance history: Egypt, Greece, Pointe/Variations (1 Credit per Term) Rome, medieval, etc. Development of theatrical dance in Western

Basic technique of ballet on pointes. Variations from classical ballets Europe; ballet. Developments in twentieth century dance: American will be introduced to the student. modern dance, European modern dance, modern ballet. DAN 114, 115, 116; DAN 214, 215, 216; DAN 190 DAN 314, 315, 316; DAN 414, 415, 416 Introduction to Kinesiology (2 Credits) Men’s Class (1 Credit per Term) A study of the mechanics of the body to help the students apply their A class in which special attention is given to the technical require- knowledge of anatomy to the moving dancer’s body. Prerequisite:

ments of the dance as it pertains to the role of the male dancer. Human Anatomy and Physiology SCI 221 , 222, 223.

20 DAN 290 DAN 365 Advanced Kinesiology (2 Credits) Choreographic Styles (2 Credits) To develop furtherthe study of body mechanics begun in Introduction Course is designed to bridge the gap between dance history and to Kinesiology, body mechanics and analysis of movement, body technique class: discuss dance history and then in the same class conditioning. perform a variation from the period. Requirement for Ballet Majors. DAN 171, 172, 173; DAN 271, 272, 273; DAN 499 DAN 371, 372, 373; DAN 471, 472, 473 Senior Recital (2 Credits per Term) Dance Composition (2 Credits per Term) All graduating seniors in modern dance are required to choreograph a Principles of techniques of choreography for modern majors. Required work. Those designated for public performance on the senior recital for two years. Elective third and fourth years. program shall be juried by the dance faculty. DAN 181, 182, 183; DAN 281, 282, 283; DAN 381, 382, 383 Repertory (1 Credit per Term) A study of works either by resident or guest choreographers from present and/or classic repertoire. DAN 267 Renaissance Dance Student will learn to perform dances of the Renaissance period; and will develop understanding of the history of the period as it relates to dance. The student will learn to use dance manuals from the period. Required for Ballet majors, and elective for Modern majors. Prerequi- site: Dance History Survey: DAN 161, 162, 163. DAN 268 Baroque Dance (2 Credits per Year) Student will learn to perform dances of the Baroque period; shall develop an understanding of the history of the period as it relates to dance and learn to use dance manuals of the period. Required for Ballet majors, an elective for Modern Dance majors. Prerequisite: Dance History Survey: DAN 161, 162, 163. DAN 269 Twentieth Century Dance History (2 Credits per Year) This course provides an in-depth study of selected topics in 20th century dance history. Required for Ballet and Modern Dance Majors. Prerequisite: Dance History Survey: DAN 161, 162, 163.

DAN 199, 299, 399 Directed Studies (3 Credits per Year) Based on technical proficiency, students may be selected for special projects such as performing with the North Carolina Dance Theater, modules or additional performances away from the school which would require additional work and time from the regular curriculum. No more than 3 credits per year. Pass/Fail grade. Prerequisite: Techni- cal proficiency. The Pre-professional Program

21 1983-84 HIGHLIGHTS Senior modern dance majors presented their choreographic projects in a series Melissa Hayden (New York City Ballet), of programs in Studio A. Fanchon Cordell (American Ballet Thea- tre), and Frank Smith (American Ballet Hans Brenaa of the Royal Danish Ballet Theatre) joined the School of Dance in Copenhagen spent four weeks at the faculty. school staging three Bournonville ballets for the Winter Dance Concert. “Konser- The Fall Dance Concert in De Mille vatoriet”, “Flower Festival at Genzano” Theatre featured the following works and “Napoli-Act III” were performed at choreographed by members of the mod- the Stevens Center. ern dance faculty: “Spaces” and “Violin” — Dianne Markham, “Ecce Homo” — Works presented in the Spring Dance Concert were “Serenade”, staged by Me- Richard Kuch, “Passage” —Tonia Shim in, and “Po Cherepo” — Richard Gain. lissa Hayden, “Flick-Flack”, choreographed by Duncan Noble, “Air for the The annual production of “The Nutcrack- G String”, staged by Ernestine Stodelle er” with NCSA dancers was performed and “Once Upon a Time There Was No with the Winston-Salem Symphony at Time, and It Was Then That . . .”, cho- the Stevens Center for the first time, and reographed by Dianne Markham. with the Charlotte Symphony in Char- lotte and the North Carolina Symphony “From Fifth to Broadway”, a salute to the in Raleigh. work of classical and contemporary choreographers who revolutionized dance Guest teachers were Marcus Alford, on Broadway, staged by Richard Gain, Robert Denvers, Melinda Lawrence, Luk Mabel Robinson and Richard Kuch was de Layress, Mabel Robinson, Ernestine presented in the spring. Stodelle and Betty Walberg. A three-week summerdance program of study was held in Vicenza, Italy with performances in Vicenza, Recoaro, and Thiene.

Hans Brenaa of the Royal Danish Ballet, Guest Co

22 NORTH CAROLINA DANCE THEATER Robert Lindgren, Director Salvatore Aiello, Associate Director

Founded by Robert Lindgren in 1970, NORTH CAROLINA DANCE THE- ATER has become one of the most sought-after and highly acclaimed companies touring America today. On tour for more than half of each year, the company has appeared in hundreds of cities in 35 states from coast to coast, and in five European countries. Its performance credits include appearances at such major dance events as the American Dance Festival, the Festival of the Two Worlds in Spoleto, Italy, La Danse a Aix, in Aix-en-Provence, France, and the Spoleto Festival USA. NORTH CAROLINA DANCE THE- ATER has assembled one of the most varied, exciting, and entertain- ing repertories to be found on stage anywhere. Included are classical masterpieces such as George Balanchine’s ALLEGRO BRILLANTE and SCOTCH SYMPHONY, Marius Petipa’s PAS DE DIX and August Bournonville’s NAPOLI, as well as more contemporary pieces such as Senta Driver’s RESETTINGS, Ze’eva Cohen’s OFFERINGS, Norbert Ves- ak’s full length MIDSUMMER NIGHT’S DREAM, and Associate Director Salvatore Aiello’s SATTO. A half-dozen new works are added jrapher

to the repertoire each season, many of them created especially for the company.

DANCE THEATER’S sixteen dancers, all seasoned professional performers, have been praised by major dance critics throughout the United States and overseas for their clean, pol- ished technique, and their ability to perform a wide range of dance styles. Many are graduates of the North Carolina School of the Arts.

Support from such major institutions as the Rockefeller, Ford, and Mellon Foundations, the Hanes Corporation, the National Endowmentforthe Arts, and the North Carolina Department of Cultural Resources has enabled the company to maintain sound fis- cal health, and stands as a further testimony to its solid national and international reputation.

The North Carolina Dance Theater production of “A Midsummer Night’s Dream. ”

24 BOARD OF TRUSTEES: 1983-1984 SEASON

Mrs. Thaddeus A. Adams, III, Greensboro Mrs. Ted Bailey, New Bern Mrs. Franklin Block, Wilmington Mrs. William A.V. Cecil, Asheville Mrs. John P. Corpening, High Point Mrs. Kathleen Bryan Edwards, Greensboro Mrs. Nancy G. Elberson, Winston-Salem Mr. Paul Fogleman, Hickory Mrs. James C. Frenzel, Winston-Salem Mr. John L.W. Garrou, Winston-Salem Mr. William E. Hollan, Jr., Winston-Salem Mr. John P. Judson, Clover, SC Mrs. John P. Judson, Clover, SC

Mr. Thomas S. Kenan, III, Chapel Hill Mrs. Carter Lambeth, Wilmington

Ms. Elizabeth B. Lee, A. I. A., Lumberton Mr. Robert Lindgren, Winston-Salem Mrs. Walter S. Lineberger, Belmont Mrs. J. Hal Owsley, Hickory

Mrs. George W. Paschall, III, Raleigh Mrs. S. Davis Phillips, High Point Mrs. Ella Fountain Pratt, Durham Mrs. Mortimer Ryon, Asheville Mrs. Edward M. Schempp, Durham Dr. James Semans, Durham Mrs. Mary D.B. Semans, Durham Mr. E. Taylor Shipley, Winston-Salem Mrs. Harley F. Shuford, Jr., Hickory Mr. Ralph N. Strayhorn, Winston-Salem Mrs. Calude B. Strickland, Jr., Winston-Salem Dr. Robert Suderburg, Winston-Salem Mr. Donald F. Vincent, Wilson Mrs. J. Tylee Wilson, Winston-Salem

SCHOOL OF DESIGN AND studios and scenery, property and cos- produces broadcast and recorded mate- PRODUCTION tume storage spaces. rial of a wide variety either independ- Recognizing the importance and place ently or in tandem with larger outside of designers and craftsmen as artists and UNDERGRADUATE PROGRAM production teams. Both artistic and pub- artisans, the School of Design and Pro- The program is open primarily to college lic service ends are served. The unit duction offers a comprehensive program students; however, gifted high school exists as an arm of the School’s central of instruction and practice in theatrical students may be admitted. Students “audi- administration and is not intended to design, production management and the- tion” through the presentation of a port- become a degree granting program. atre crafts. Faculty and students design folio and/or an interview. Evidence of The “in house” video equipment includes and build the sets, properties, costumes candidacy may include letters of recom- recording and editing facilities for both and lighting for the productions of the mendation, resumes of experience and color and black and vvhite. The sound Schools of Dance, Drama and Music. examples of work such as sketchbooks, studio is “state of the art” with a primary Design problems and practical experi- lighting plots, prompt scripts, etc. Stu- emphasis on the recording of concerts enceand responsibilities in touring large dents may pursue either the Bachelor of and recitals for FM broadcast. and small productions are given special Fine Arts Degree or the Arts Diploma. emphasis and afford very unusual oppor- Scholarships and Financial aid are avail- HIGH SCHOOL VISUAL ARTS tunities for undergraduates. able. The program in Visual Arts is limited to The instruction program equips gradu- high school sophomores, juniors and ates for positions in the professional GRADUATE PROGRAM seniors. It is an exploratory program in theatre. Students receive classroom and The first NCSA Graduate Program is a visual communication designed to train studio instruction while carrying out serv- Masterof Fine Arts Degree in the School students in the skills and tools of the ice functions for the entire School. Instruc- of Design and Production. The program visual arts in preparation for advanced tion by the regular staff of working pro- offers degrees specializing in scene de- study. The program includes instruction fessionals is augmented by visiting spe- sign, costumedesign/production ortech- and practice in graphics, two-dimensional cialists. nical direction. For additional informa- design, sculpture, crafts and photography. tion, see pages 44-51 Students gain experience in both con- Presentation of a portfolio is a prerequi- ceptual and technical skills, and may Television, Film and Recording Services site for admission. In addition to the arts concentrate in one of five areas: scenic, and Studios concentration, students must complete costume, light design, stage manage- NCSA’s primary mission is the prepara- the customary academic requirements ment, and technical production. tion of young performing artists for pro- for a state-approved high school diploma. fessional careers. With this in mind, the Approximately 20,000 square feet of space media services unit was established to is allocated for paint, welding and metal, insure that developing performers have electrical, properties, plastic, carpentry some experience and training before the and costume shops. In addition to general “electronic audience” which, in all prob- classroom space, there are design, draft- ability, will bea majoremployer. Beyond ing, drawing, sculpture and ceramics this training function, the department

27 NORTH CAROLINA SCENICSTUDIOS, INC. In response to many requests for design assistance and properties, North Carolina Scenic Studios was established as a professional affiliate to the School of Design and Production. As a separately incor- porated non-profit entity, the organization operates apart from the School. This is the only technical theatre resource of its kind in the region. Its purpose is to provide needed services while becoming an outlet for a wider variety of professional experience for the faculty, advanced students, and recent graduates.

Board of Directors Edwin E. Bouldin, Jr., Winston-Salem George M. Green, Winston-Salem Scott Templin, Winston-Salem John A. Sneden, Jr., Winston-Salem Martin Sokoloff, Winston-Salem Gary Hugh Strickland, Winston-Salem

'' 1 #

28 John Sneden, Dean of the School of grams. Programs have been aired on PBS, Wachovia Bank & Trust Co., Wake Forest Design and Production (1970) CBS and individual stations. English Department, Jackson Library, UNC-G, and numerous private collections. A. B., M.A., University of North Carolina at Colleen Callahan, Costume Construc- Chapel Hill. Professor of Drama and Design, tion, Costume History (1982) Clyde Fowler, Jr., Director of Visual Arts; East Carolina University, Greenville, N.C. Direc- B.A., Smith College. Staff Costumer/Instruc- Drawing (1975) tor of Theatre, Davidson College. Designer, tor, Temple University. Professional Costume B.F.A., Virginia Commonwealth University; Arrow Rock Lyceum, the State Theatre of Shop Supervisor and Draper: Repertory The- studied drawing at the National Academy of Missouri. Eight years resident designer for atre of St. Louis, Hartford Stage Company, Fine Arts, N.Y, Represented in the 40th annual the East Carolina Summer Music Theatre. Weston Playhouse, WaysideTheatre. Draper: NC Artists Exhibition, Museum of Art, Designer, the Cape Playhouse, Dennis, Mass. NC Muppets, Inc., Pacific Conservatory for the Raleigh, NC. Represented in the NC Sym- Board of Directors, North Carolina Scenic Performing Arts, Pennsylvania Ballet, Long phony Invitational Exhibition, Raleigh, Chapel Studios, Inc. Wharf Theatre, Ray Diffen Stage Clothes, Wil- Hill, Greensboro. Studied Drawing at Art Stu- Scott W. Templin, Assistant Dean, Sound liamston Theatre. dents League, New York City. Design, Drafting, Lighting (1973) Pamela Chapkiln, Color & Design, Draw- Henry Grille, Stagecraft, Theatre Tech- B. A., University of California at Santa Barbara ing, Rendering (1982) nology (1983) (Theatre Technology and Design); M.F.A., B.F.A.. Syracuse University, School of Visual California Institute of the Arts, studied design B.A., Cornell University; M.F.A. Carnegie- Arts; M.F.A., Tyler School of Art, Temple Uni- with James Heart Sterns. Costume Shop Man- Mellon University, Technical Director, Uni- versity. Instructor/Guest Lecturer, Goods Gal- ager at UCSB. Teaching assistant for theatre versity of Evansville, Carnegie-Mellon Thea- lery, Port Washington, N.Y., Cazenovia Col- tre Company, Cornell University Theatre, Ithaca sound at California I nstitute of the Arts. Worked lege, N.Y., Syracuse University, N.Y. as master carpenter for the North Carolina Summer Repertory, Geneva SummerTheatre. Summer Festival 1973. Designed lighting and Jannie Davis, Wardrobe Manager (1980) Jim Albert Hobbs, Coordinator, Lighting sound systems for Disneyland, Anaheim, Cali- Jane Flint DeKoven, Recording, Televi- fornia. Program. Lighting Design, Stage Man- sion & Film Department — Production agement (1983) Margaret H. Pope, Administrative Secre- Manager (1983) B.A., American University; M.F.A., Linderwood tary (1970) B.A., Art/Philosophy, Antioch College; M.A. College. Lighting Designer, projections, and Jeannine Patterson, Secretary (1980) Human Development, Pacific Oaks College. decor for over 200 professional productions— Independent film and video producer. Inde- Kennedy Center Opera Theatre and Eisen- Michael Avedon, Photography (1976) pendent animator. Filmmaker-in-the-Schools, hower Theatre; Wolftrap; New Playwrights B.A., Fordham University. Photography cred- S.C. Arts Commission; Kentucky Arts Com- Theatre; Sylvan Theatre; Smithsonian Insti- its include: Life, Harpers Bazaar, Show, After mission. tute; Provincetown Playhouse; Off-Broadway; Dark, Dance Magazine, album covers for Broadway, “Charlie and Algernon” 1980: Pre- Martha Dunigan, Visual Arts; Sculpture, recording artists, and major ballet compan- sidential Inaugural 1973; and numerous indus- Ceramics (1974) ies. Designed costumes for "Rapsodie Es- trial designs. Member, United Scenic Artists. pagnole" for George Balanchine and the New B.A., Oberlin College; M.F.A., University of York City Ballet’s Ravel Festival atthe Lincoln North Carolina at Greensboro. Attended Pen- James Hulllhan, Stagecraft, Welding, Center. land School of Crafts; Atelier 17, Paris; Pratt Lighting (1983) Graphic Work Shop New York. Exhibiting Joseph Blankinship, Recording, Televi- B.A., DePauw University; M.A. University of member: Piedmont Craftsmen, Inc.; Five Cincinnati; M.F.A., University of Washington. sion & Film Department — Producer- Winston-Salem Printmakers. Works shown in Stage Carpenter; Cincinnati Opera, Cincin- Director (1977) juried and members exhibitions of Province- nati Playhouse in the Park, MGM Grand Hotel B.A. Temple University. Graduate of the Cinema town Art Assn., Mass.; SECCA, Winston- in Las Vegas and Reno, Design Concepts Institute. Independent film and Video Direc- Salem; many group shows throughout the Scenic Studio, San Francisco Opera, Seattle tor in both Documentary and Theatrical Pro- southeast. Represented In collections of Opera. Production Manager: Chabot Com-

29 munity College. Master Electrician: Colorado tre, Lincoln Opera House, Berkshire Theatre Shakespeare Festival. Technical Director and Festival; Production Manager, American Stage Lighting Designer: Conservatory Theatre Co., Festival, Berkshire Theatre Festival. Seattle. James R. Riggs, Coordinator, Stage Man- Howard C. Jones, Resident Scenic Artist, agement Program (1984) Scene Design (1982) B.F.A., Carnegie-Mellon University. Stage Man- B.A., William Jewell College; graduate work, ager, Milwaukee Melody Top Theatre, Mil- Mankato State University. Scenic Artist, Mis- waukee Repertory Theatre, Meadow Brook souri Rep. Theatre; Lyric Opera of Kansas Theatre, Stage/West, Bucks County Playhouse. City, Starlight Theatre; Goodspeed Opera, For seven years head of stage management “Marlowe" (Off-Broadway). Scenic Design, program. University of Wisconsin-Milwaukee. Kansas City Ballet, Missouri Rep. Theatre, Member, Actors Equity Association. Folly Theatre, Westport Ballet, Coterie Thea- tre, Starlight Theatre. Member, United Scenic Christine Turbitt, Costume Design, Cos- Artists, Local 350. tume History, Costume Construction (1974) Donato Moreno, Drawing, Painting, Ren- B.A., University of California, Berkeley; M.F.A. dering (1984) University of California, Irvine. Has designed B.A. American University; M.F.A. Cornell Uni- costumes for the University Dance Theatre in versity; additional studies at Universidad de Repertory (Berkeley, California), N.C. Dance Madrid-Escuela de Arquitectura, Escuela de Theater, N.C. Theatre Ensemble, The Young Bellas Artes-Seville, Ecole Nationale Super- Age Theatre, and the N.C. Shakespeare Festi- ieure des Beaux-Arts, Paris, Atelier 17, Paris. val. She has worked several seasons at The Designer, Williamstown Festival, Theatre Man- Santa Fe Opera and was shop supervisor at hattan School of Music, New York City Opera, the Great Lakes Shakespeare Festival, 1983 Provincetown Playhouse, among others. Mem- season. ber, United Scenic Artists, Local 829. Bland Wade, Prop Shop Manager (1983) Mark Pirolo, Coordinator, Costume Pro- gram. Costume and Scene Design (1972) B.F.A. with honors, Carnegie-Mellon Univer- sity. Designer N.E.T. Biography Series, Pitts- burgh Playhouse, Great Lakes Shakespeare Festival, Theatre by the Sea (Portsmouth, N.H.), North Carolina Dance Theater, North Carolina Shakespeare Festival. Guest Designer Wake Forest University and State University of New York at Albany.

David Ramsey, Coordinator, Technical Production Program. Technical Direc- tion, Furniture (1979) B.S., Plymouth State College (NH); M.F.A., University of North Carolina at Greensboro. Technical Director, Indiana Repertory Thea- Admission to the Program The program is open to college students who wish to concentrate in scene design, costume design, lighting design, technical production, or stage management. Gifted high school students may also be admitted to the program.

Design and Production applicants should present a portfolio of previous work. The portfolio should include any or all of the applicant’s designs, photographs of completed sets and costumes, technical drawings, charts, production books, art work

of all types including drawing, pure design, rendering and theatrical or non- theatrical three-dimensional work. A per-

sonal interview is required. Those applicants planning a major in technical production or stage management who are unable to present a portfolio will be evaluated for admission on the basis of the personal interview.

Audition Dates Because there is a limit to the number of new students accepted, in any given year, applicants are urged to audition T« :t. early.

31 Auditions will be held at the North Caro- continue in the program only so long as plies needed should be prepared to spend lina School of the Arts on the following they demonstrate substantial growth to- between $300 and $500 during the early dates during the 1984-85 school year: ward artistic excellence. part of their first year. January 18, February 8, 22, March 8, Grading System Apprenticeship March 29, April 12, 26, May 10. Indication of student achievement is pro- Students in their fourth year may, with Students who, because of extenuating vided by the following grades and as- the permission of the Dean and approval circumstances, are unable to attend the signed quality points: of the faculty, receive credit for one or regularly scheduled audition dates indi- A (4.0) Excellent two terms of arts courses for apprentice- cated above, may, on occasion, be granted B (3.0) Good ship in a professional company. These a special interview. C (2.0) Average students continue to pay regular tuition D (1.0) Poor to the North Carolina School of the Arts. League of Professional Theatre Training F (0.0) Failing Programs Bachelor of Fine Arts Degree Require- I Incomplete ments The North Carolina School of the Arts is Transfer Students 36 credit hours of general studies courses a member of the League of Professional Transfer students are placed according include 141, Theatre Training Programs. The League (must GES 101, 102, 103, to ability and experience at the discre- 142, 143, 144, 145, 146, 211, 212, and coordinates audition schedules of eleven tion of the Dean, following review of 213). For additional information regard- of the nation’s major theatre schools, priorcourses and interviews with faculty ing requirements for the Degree, see providing the students with the oppor- members. Where applicable, placement pages 107-108. tunity to audition for more than one tests will be administered and approp- school. For further information on Lea- 124-130 credits in design and produc- riate advanced placement credit will be gue members and coordinated audition tion courses (must include 48 credit given. A transfer student must spend a dates, please write: hours in production). minimum of two years at the School to League of Professional Theatre qualify for the Bachelor of Fine Arts Each candidate for the degree is required Training Programs Degree in Design and Production. to make a formal portfolio presentation Att’n: Sharon Jensen to the entire faculty during the last term Supplies and Materials 1860 Broadway of the senior year in order to graduate. Students are personally responsible for New York. NY 10023 obtaining their own supplies and equip- Arts Diploma Requirements Continuance in the Program ment for classes and crew, i.e., drafting All design and production courses for To remain in the program, the student equipment, shop hand tools, drawing the Bachelor of Fine Arts Degree are must maintain a cumulative 2.0 average and as required (or recommended) text- required forthe Arts Diploma. Additional in both general studies and arts courses books for courses. Expenditures will be General Studies courses may be taken, through the first year, and in the follow- heaviest during the first year, as students but are not required. 124-130 credits in ing years, an average of 2.0 in general make major investments that they will design and production courses must studies courses and 2.5 in arts courses. use for the rest of their professional include 48 credit hours in production. In addition, students are evaluated by careers. Students not already owning Each candidate for the Arts Diploma is the faculty each term and are invited to some of the major equipment and sup- required to make a formal portfolio pres-

32 entation to the entire faculty during the last term of the senior year in order to graduate.

Course of Study Each student may elect a course of study in one of the following five options: Scene Design Costume Design/Production Lighting Design Technical Production Stage Management

The student’s total program is divided into a three-phase sequence: Phase I—The Foundation Normally, a one-year program of basic preparatory courses. Students must successfully complete all courses in this phase before being allowed to advance to Phase II. Phase M— Concentrated Study Normally, a two-year program of courses which makes up the core curriculum of the student’s declared area of major interest. Students must successfully complete all courses in this phase before being allowed to advance into Phase III.

Phase III— The Pre-Professional Year In this final year of the program, students, with the advice and approval of their faculty advisor and the Dean, will develop individualized curricula based on their particular needs and interests. This may include advanced seminars, tutorials, contract courses, increased production involvement, or internships either on-campus or off-campus.

33 >.Cr rV

Costume Design Option- Lighting Design Option— Minimum Requirements Minimum Requirements Minimum Total Credits: 164

Minimum Total Credits: 160 PHASE I (Year One): Term 1 Term 2 Term 3 100 4 4 4 PHASE 1 (Year One): Term 1 Term 2 Term 3 DEP Production DEP 151, 152, 153 Color & Design 2 2 2 DEP 141 Drafting 2 DEP 154, 144, 156 Three DEP 151, 152, 153 Color & Design 2 2 2 Dimensional Design 2 2 2 DEP 161, 162, Drawing 2 2 DEP 161, 162, 163 Drawing 2 2 2 DEP 231, 232, 233 Lighting Design 2 2 2 DEP 221, 222, 223 Costume GES 101, 102, 103 Critical Construction 2 2 2 Perspectives 2 2 2 GES 101, 102, 103 Critical GES 141, 142, 143 World Theatre 2 2 2 Perspectives 2 2 2 Total Credits Required in Phase I: 42 GES 124, 125, 126 World Art 2 2 2 GES 141, 142, 143 World Theatre 2 2 2 PHASE II (Year Two): Term 1 Term 2 Term 3

Total Credits Required in Phase I: 42 DEP 200 Production 4 4 4 DEP 110, 120 Fundamentals 1 1 DEP 174, 175, 176 History of Decor 2 2 2 II (Year Two); Term 1 Term 2 Term 3 PHASE DEP 181, 182, 183 Sound & Production 4 4 4 DEP 200 Electronics 2 2 2 141 Drafting 2 DEP DEP 338 Lighting Design Seminar 2 2 2 DEP 110, 130 Fundamentals 1 1 GES 144, 145, 146 World Theatre 2 2 2 DEP 171, 172, 173 Costume History 2 2 2 GES 211, 212, 213 Foundations of 2 2 2 DEP 261, 262, 263 Costume Design Values 2 2 2 DEP 264, 265, 266 Life Drawing 1 1 1 DEP 321, 322, 323 Costume PHASE II (Year Three): Term 1 Term 2 Term 3 Construction 2 2 2 DEP 300 Production 4 4 4 144, 145, 146 World Theatre 2 2 2 GES DEP 157 Scene Design for Non-Majors 2 DEP 167 Costume Design for

PHASE II (Year Three): Term 1 Term 2 Term 3 Non-Majors 2 DEP 300 Production 4 4 4 DEP 217, 218, 219 Stagecraft 2 2 2 DEP 231, 232, 233 Lighting Design DEP 438 Lighting Design Seminar 2 2 2 or DEP Electives* 2 2 4 DEP 251, 252, 253 Scene Design 2 2 2 General Studies Electives* 4 4 4

DEP 364, 365, 366 Life Drawing 1 1 1 Total Credits Required in Phase II: 92 DEP 368 Costume Design Seminar 2 2 2

DEP 421 , 422, 423 Costume PHASE III (Year Four): Term 1 Term 2 Term 3 Construction 2 2 2 DEP 499 Senior Seminar 2 2 2 GES 211, 212, 213 Foundations of DEP 400 and DEP Electives* 8 8 8

Values 2 2 2 Total Credits Required in Phase III: 30 General Studies Electives* 2 2 2

Total Credits Required in Phase II: 88

PHASE III (Year Four): Term 1 Term 2 Term 3 DEP 468 Costume Design Seminar 2 2 2 DEP 400 and DEP Electives* 8 8 8 Total Credits Required in Phase III: 30 *NOTE: with faculty advisor approval

34 Scene Design Option— Minimum Requirements State Management Option— Minimum Requirements Minimum Total Credits; 162 Minimum Total Credits: 160

PHASE I (Year One); Term 11 Term 2 Term 3 PHASE i (Year One): Term 1 Term 2 Term 3 DEP 141 Drafting 2 DEP 100 Production 4 4 4 DEP 151, 152, 153 Color & Design 2 2 2 DEP 120, 130 Costume, Lighting DEP 154, 155, 156 Three Dimensional Fundamentals 1 1 Design 2 2 2 DEP 141 Drafting 2 DEP 161, 162, 163 Drawing 2 2 2 DEP 191, 192, 193 Stage

DEP 254, 255 Rendering 2 2 Management 1 2 2 2 GES 101, 102, 103 Critical DEP 217, 218, 219 Stagecraft 2 2 2 Perspectives 2 2 2 GES 101, 102, 103 Critical GES 124, 125, 126 World Art 2 2 2 Perspectives 2 2 2 GES 141, 142, 143 World Theatre 2 2 2 GES 141, 142, 143 World Theatre 2 2 2

Totai Credits Required in Phase i: 42 Totai Credits Required in Phase i: 40

PHASE il (Year Two): Term 1 Term 2 Term 3 PHASE II (Year Two): Term 1 Term 2 Term 3 DEP 200 Production 4 4 4 DEP 200 Production 4 4 4 DEP 110, 120, 130 Fundamentals 1 1 1 DEP 181, 182, 183 Sound & DEP 174, 175, 176 History of Decor 2 2 2 Electronics 2 2 2 DEP 211, 212, 213 Scene Painting 1 1 1 DEP 231, 232, 233 Lighting Design 2 2 2 DEP 251, 252, 253 Scene Design 2 2 2 DEP 291, 292, 293 Performance DEP 264, 265, 266 Life Drawing 1 1 1 Problems 2 2 2 DEP 354, 355, 356 Rendering 1 1 1 GES 144, 145, 146 World Theatre 2 2 2 GES 144, 145, 146 World Theatre 2 2 2 GES 211, 212, 213 Foundations of Values 2 2 2

ii 1 2 3 PHASE (Year Three): Term Term Term PHASE II (Year Three): Term 1 Term 2 Term 3 DEP 300 Production 4 4 4 DEP 300 Production 4 4 4 DEP 217, 218, 219 Stagecraft 2 2 2 DEP 157, 167, Scene, Costume DEP 231, 232, 233 Lighting Design Design for Non-Majors 2 2 or DEP 210 Production Management 2 DEP 261, 262, 263 Costume Design 2 2 2 DEP 391, 392, 393 Stage 1 1 1 DEP 311, 312, 313 Scene Painting Management II 2 2 2 DEP 358 Scene Design Seminar 2 2 2 DEP Electives* 4 4 4 DEP 454, 455, 456 Rendering 1 1 1 General Studies Electives* 4 4 4

GES 211, 212, 213 Foundations of Total Credits Required in Phase ii: Values 2 2 2 2 General Studies Electives* 2 2 PHASE iii (Year Four): Term 1 Term 2 Term 3 Totai Credits Required in Phase il: 90 DEP 498 Senior Stage Management Seminar 2 2 2 PHASE III (Year Four): Term 1 Term 2 Term 3 DEP 400 and DEP Electives* 8 8 8 DEP 458 Scene Design Seminar 2 2 2 Total Credits Required in Phase ill: DEP 400 and DEP Electives* 8 8 8

Total Credits Required in Phase ili: 30

‘NOTE: with faculty advisor approval

35 Technical Production Option — Minimum Requirements Course Descriptions Minimum Total Credits: 166 DEP 100, 200, 300, 400 Production (4-8 Credits Each Term) Practical application of all phases of technical production and design. PHASE I (Year One): Term 1 Term 2 Term 3 DEP 100 Production 6 6 6 During the first year, assignments to crews and design projects will be DEP 141 Drafting 2 varied to insure broad exposure and experience for the individual. DEP 215, 216, Welding 2 2 Advanced students will be assigned to the areas of their major DEP 217, 218, 219 Stagecraft 2 2 2 concentration. GES 101, 102, 103 Critical DEP 101 Theatre Introduction (2 Credits Each Term) Perspectives 2 2 2 GES 141, 142, 143 World Theatre 2 2 2 An examination of the procedures and practices in the modern theatre viewing all the relate Total Credits Required in Phase I: 42 creative and performing aspects as they to design and production.

PHASE II (Year Two): Term 1 Term 2 Term 3 DEP 110 Scenery Fundamentals (1 Credit Each Term) DEP 200 Production 4 4 4 An introduction to the fundamentals of scenery construction, theatre DEP 120, 130 Fundamentals 1 1 rigging, tools and shop procedures. DEP 315, 316, Theatrical Engineering 2 2 DEP 417, 418 Advanced Stagecraft 2 2 DEP 120 Costume Fundamentals (1 Credit Each Term) DEP Electives* 4 4 4 An introduction to sewing for the stage, including shop procedures, GES 144, 145, 146 World Theatre 2 2 2 organization and basic techniques of pinning, marking, cutting, GES 211, 212, 213 Foundations of machine and hand sewing. Values 2 2 2 DEP 130 Lighting Fundamentals (1 Credit Each Term) An introduction to the mechanics of stage lighting, including instru- PHASE II (Year Three): Term 1 Term 2 Term 3 DEP 300 Production 4 4 4 ment maintenance, control boards, color media, basic electricity and DEP 137, 157, 167 Scene, Costume, shop procedures.

Lighting Design for Non-Majors 2 2 2 DEP 137 Lighting Design for Non-Majors (2 Credits Each Term) 174, 175, 176 of 2 DEP History Decor 2 2 An introduction to and survey of the principles of lighting design for DEP 210 Production Management 2 the nondesigner, focusing on the history, development, function and DEP 317, 318, 319 Technical Direction 2 2 2 future of lighting design for the stage. DEP Electives* 2 2 General Studies Electives* 4 4 4 DEP 141, 142, 143 Drafting for the Theatre (2 Credits Each Term)

Total Credits Required in Phase II: 94 Intensive instruction in drafting for the theatre, including floor plans, construction elevations, isometric projections and mechanical per- PHASE III (Year Four): Term 1 Term 2 Term 3 spective drawing. DEP 499 Senior Seminar 2 2 2 DEP 151, 152, 153 Color and Design (2 Credits Each Term) DEP 400 and DEP Electives* 8 8 8 An investigation of the basic principles of two-dimensional art and Total Credits Required in Phase III: 30 graphic forms through various media and a study of color and color theory through projects in traditional and individual expression. DEP 154, 155, 156 Three Dimensional Design & Sculpture (2 Credits Each Term) The study of three dimensional design and sculpture for the theatrical designer. Sculptural problems will be explored using various media- *NOTE: with faculty advisor approval. clay, wire, paper, wood.

36 DEP 157 Scene Design for Non-Majors (2 Credits Each Term) DEP 214, 215, 216 Welding (1 Credit Each Term) An introduction to and survey of the principles of scene design for the Introduction to procedures, materials and techniques of metal work- nondesigner, focusing on the process of theatrical design as influ- ing used in scenery construction. Areas of consideration include cut- enced by the western physical stage. ting, forging, oxy-acetylene and arc welding.

DEP 161, 162, 163 Drawing (2 Credits Each Term) DEP 217, 218, 219 Stagecraft (2 Credits Each Term) A practical study in developing drawing skills. Special focus is given to A course emphasizing the solving of problems in theatrical construc- space, movement, perspective and the human form. tion. Old solutions are challenged, proven or disproven and new and are developed. DEP 167 Costume Design for Non-Majors (2 Credits Each Term) creative approaches to problems An introduction to and survey of the principles of costume design for DEP 221, 222, 223 Costume Construction (2 Credits Each Term) the nondesigner as related to history and theatrical productions, A study of draping, flat-patterning and special construction tech- including drama, dance and opera. niques, as applied to period costumes from the Ancient Egyptian to dress. Special is placed upon adapting these DEP 171, 172, 173 Costume History (2 Credits Each Term) modern day emphasis for practical application in theatrical costume. A survey of fashion and costuming throughout the world from ancient techniques times to the present. DEP 231, 232, 233 Lighting Design (2 Credits Each Term) Introduction to the principles, theories and equipment employed by DEP 174, 175, 176 History of Decor (2 Credits Each Term) the lighting for stage. Areas of investigation include A survey of decor, ornamentation, interior design and furnishings from designer the analysis. ancient times to the present, with special emphasis on their adaptation color, light sources, control systems and script and application for stage use. DEP 234, 235, 236 Stage Eiectrics (2 Credits Each Term) survey of the mechanics of stage electrics and the role of the produc- DEP 181, 182, 183 Sound and Eiectronics (2 Credits Each Term) A tion electrician. will include electrical power distribution, trou- Introduction to sound and sound equipment utilized by the theatre Topics bleshooting, pulling the show package, cost estimates for rental technician in theatrical production. Consideration is given to electric- packages. ity, electronics, physics of sound and equipment. DEP 241, 242, 243 Furniture and Woodworking (2 Credits Each Term) DEP 191, 192, 193 Stage Management I (2 Credits Each Term) Practical the construction, upholstery, repair and refinishing An introduction to the fundamentals of stage management as related study of of furniture for the stage, and the art of fine woodworking. to current productions, as well as professional union requirements. The basic techniques of the stage manager are presented, including DEP 247, 248, 249 Stage Properties (2 Credits Each Term) the prompt book, rehearsal and performance procedures. A study of basic procedures, techniques and materials that can be used by the designer and technician in the construction and procure- DEP 199, 299, 399, 499 Tutorials and Contracts introduction period furniture and (Credits To Be Announced) ment of stage properties. Basic to ornamentation, upholstery and set dressing. Credit is given for apprenticeships and tutorials originated by the student, with faculty approval, for special projects which will signifi- DEP 251, 252, 253 Scene Design (2 Credits Each Term) cantly enrich the student’s growth and development in areas not regu- Through projects in rendering media and techniques, space analysis larly covered in established courses. and environmental design problems, the student designer will develop his sense of scale, proportion, volume and color, progressing to final DEP 211, 212, 213 projects, including complex production schemes and an understand- DEP 311, 313, 313 ing of period and styles of production. DEP 411, 412, 413 Scene Painting (1 Credit Each Term) Basic techniques employed by the scenic artist are examined. Empha- sis is placed on equipment, procedure and practical application to framed scenery, drops and three-dimensional units.

37 DEP 254, 255, 256 DEP 321, 322, 323 DEP 354, 355, 356 DEP 421, 422, 423

DEP 454, 455, 456 Rendering (1 Credit Each Term) Advanced Costume Construction (2 Credits Each Term) A study of rendering techniques and model making for the scene Advanced construction projects concentrating on three-dimensional designer with emphasis on the various media available and modes of costume construction, millinery, jewelry and wig styling. presentation desirable. DEP 341, 342, 343 Technical Production Management DEP 261, 262, 263 Costume Design (2 Credits Each Term) (2 Credits Each Term) An examination of the fundamental techniques of costume design An investigation into the structure of theatre administration and per- through a series of historical and problem oriented projects. Emphasis sonnel management as it relates to technical theatre, technical direc- will be placed on imagination, problem solving and growth in both tion and stage management. rendering and presentation of work. DEP 338, 438 Lighting Design Seminar (2 Credits Each Term) DEP 264, 265, 266 A seminar on design theories and application to different productions

DEP 364, 365, 366 and theatre styles. Consideration is also given to projection equip-

DEP 464, 465, 466 Life Drawing (1 Credit Each Term) ment, control systems and new developments in the field of lighting A detailed workshop in drawing and rendering skills for the costume and illumination. designer. Emphasis will be placed on figure drawing, style, painting DEP 358, 458 Scene Design Seminar (2 Credits Each Term) and drawing techniques and imaginative and creative approaches. A continuation in scene design projects with emphasis on historical DEP 281, 282, 283 Sound Design for the Theatre (2 Credits Each Term) periods and various theatrical forms, such as opera, ballet and The application of the principles of sound and sound design for the musicals. theatre. Students will individual Prerequisites: work on projects. DEP DEP 368, 468 Costume Design Seminar (2 Credits Each Term) 181, 182, 183. A continuation in costume design intended to give the student the DEP 291, 292, 293 Performance Problems (2 Credits Each Term) opportunity to explore its many facets from theatre to dance. All A course designed specifically for stage managers, to increase their projects are geared toward a strong portfolio. awareness of the training of, and problems faced by performers and DEP 391, 392, 393 Advanced Stage Management (2 Credits Each Term) directors as they relate to the functions and duties of the stage Investigation into the responsibilities and problems of Company and manager. Tour Management, finances and bookkeeping; relationship of stage DEP 310 Computer in the Theatre (2 Credits Each Term) managers with lATSE, AGMA, AFTRA, etc. A practical study of the of the in theatre, use computer the modern DEP 417, 418, 419 Advanced Stagecraft (2 Credits Each Term) ranging from bookkeeping to visual in aids the design process. A continuation of Stagecraft (217, 218, 219), with special emphasis on DEP 314, 315, 316 Engineering for Scenic Construction new methods and the latest technology. Credits (2 Each Term) DEP 498 Stage Management Seminar (2 Credits Each Term) of A study structural problems in scenic construction, strengths of Group discussion and individual projects, relating to current produc- materials, structural models, mathematical problem solving. tions, for the Senior stage management student. DEP 317, 318, 319 Technical Direction (2 Credits Each Term) A more specific examination of theatre technology including the role of the technical director in production, rigging, special effects, equipment specifications and developments in theatre technology.

38 »r»r«s£££''U 5 r,r

39 40 High School Visual Arts Program Continuance in the Program Audition Dates An exploratory program which deals To remain in the Visual Arts Program, Auditions will be held at the North Caro- with visual communication and includes the student must maintain a 3.0 average lina School of the Arts on the following instruction and practice in drawing, gra- in studio art classes and an average of dates; phics, colortheory, two-dimensional de- 2.0 in the general studies courses. Fail- January 18, February 8, 22, March 8, 29, sign, sculpture, ceramics, and photog- ure to meet this requirement will result in April 12, 26, May 10. raphy. These courses are supplemented a one-term probation period in which the High School Diploma by survey classes in Art History, tracing student must attain a 3.0 average in each The State of North Carolina high school the visual arts from prehistory to con- studio art class to continue in the pro- diploma with special concentration in temporary philosophies. Studio assign- gram. Students are evaluated by the visual arts is awarded to students who ments introduce the student to a variety faculty each term and are invited to con- satisfactorily complete the requirements of media and will also question the nature tinue only so long as they demonstrate of the visual arts program and of the of the creative process and art objects. substantial growth toward artistic excel- state of North Carolina for high school This is achieved through a carefully lence. graduation. See page 102 for total cred- planned arts curriculum emphasizing a Sanford Scholarship Competition its required for high school graduation. discipline which promotes intellectual, Sanford Scholarship Competition, Fri- aesthetic, and emotional growth. The day, January 25, 1985, (open only to Visual Arts faculty also realizes and North Carolina High School students). stresses the importance of the academic Four full scholarships to be awarded— program as an integral part of each stu- one each in the fields of Dance, Design dent’seducation. All art assignments are and Production or Visual Arts, Drama scheduled to allow ample time for aca- and Music. demic studies.

Admission to the Program

This program is designed for high school juniors and seniors who have artistic interest, dedication, and enthusiasm which they wish to pursue in a structured course of study. The presentation of a portfolio (10-15 pieces of work) and an interview are prerequisites foradmission. Although many students have had previous art training, this is not a requirement. Final decisions concerning admission are based on the artistic potential of each applicant, letters of recommendation, and a high school transcript.

41 First Year Program (2 Units Per Year) VIA 024, 025, 026 Advanced Design (Level II)

Each term students will normally have twotwo-hourartstudioclasses Acontinuation of Level I Design stressing the refinement of technique, everyday, which will include drawing, the fundamentals of design and and further sophistication of form and content. Projects include two color, sculpture and three-dimensional design. Classes will stress and three-dimensional works in many types of media. individual development and critiquetodevelopanalyisand self-evaluation. VIA 031, 032, 033 Sculpture and Ceramics (Level I) The first year is devoted to problems in three-dimensional design (first Second Year Program (2 Units Per Year) term) using paper, cardboard, string and other materials, leading into Daily art studio classes will continue on an advanced level, with the an introduction to sculpture (second term) using plaster, wood and addition of art history, and design classes which will stress graphics, other sculpture media. Third term is devoted to beginning ceramics printmaking and painting. using different techniques of hand-building. Students assist with mixing glazes and firing. Third Year Program (2 Units Per Year) Having successfully completed the first two years of core art classes, VIA 034, 035, 036 Advanced Sculpture and Ceramics students will be allowed to elect their studio classes from the advanced A continuation of introductory ceramics with advanced problems in offerings in Visual Arts and also from the various theatrical design hand-building. Wheel work is optional but is taught on an individual classes offered in the Design and Production program. basis. Students assume more responsibility for glaze mixing and firing of the kilns. Second term is devoted to exploring new sculptural prob- Course Offerings lems and ideas using a variety of media, both traditional and experi- VIA 011, 012, 013 Drawing mental. Third term: Advanced studio problems in either sculpture or A practical study to expand the students’ ability to experience and to ceramics for half the term. Second half of the term is devoted to a state their world in graphic terms, and to better understand the options senior project which will satisfy the course demands of all three art and obstacles that confront an individual when drawing. Projects will classes. be designed to explore various concepts and theories of drawing, as VIA 044, 045, 046 Art History well as to expose the student to a wide range of media and material. A historical survey of the development of painting, sculpture and VIA 014, 015, 016 Advanced Drawing architecture from ancient times to the 20th century as a manifestation A continuation of beginning drawing, designed to help the student of the cultural evolution of the Western World. broaden an understanding of the concepts, potentialities and pro- VIA 120 Introduction to Photography cesses involved in drawing. An examination of the principles of black and white photography including VIA 021, 022, 023 Design (Level I) the aesthetic balance of light and shadow with emphasis on An introduction to the basic elements of design, focusing on the image message and control. This course is available to advanced application of these elements in a series of two-dimensional projects, students in the visual arts program and is taught by Michael Avedon. which involve visual problem-solving and design decision-making. A wide variety of black and white (and color) media are used.

42 Summer Session The curriculum for this five-week program is designed to train talented students in the skills and tools of visual communication. Studio classes are carefully planned to explore the mechanical, philosophical, and intellectual aspects of the art experience in terms of the indi- viduality of each student. Written and verbal critiques are given by the faculty to help each young artist more fully realize the potential of his or her creative abilities. Students completing the program will qualify for high school or beginning college credit.

1983-84 Highlights Students in the Visual Arts Department were recognized in the 1984 Scholastic Art Award Competition by receiving 35 top-rated Gold Keys. This work was exhibited in the Weatherspoon Gallery at the University of North Carolina at Greensboro. Additional awards included four Hallmark Honor Nominations for drawing and three Eastman Kodak Nom- inations for photography.

A Master of Fine Arts Degree is offered in Scene Design Technical Direction Scene Design, Costume Design/Produc- The program begins with rigorous train- The program begins with concentrated tion, and Technical Direction. The MFA ing in the basic skills of drawing, render- training in the basic skills of drafting, Degree is earned in a three-year conser- ing, drafting and scene painting, the stagecraft, welding, stage electrics, the vatory program where extensive class- study of lighting and history of decor, study of the principles of scene, costume room and studio work is balanced with and practical design execution. Classes and lighting design and the history of practical production experience. Studio in drawing and rendering continue through- decor, and practical design execution. and production assignments escalate in out each term of the program. During the During the second and third years of the scale and complexity to prepare stu- second and third years of the program, program, the areas of study include tech- dents to take full responsibility for pro- the area of concentration narrows with nical direction, advanced theatre tech- ductions as designers and technicians studio classes, individually-directed study nology and production management in during the last two years of the program. and practical production experience in laboratory classes and in practical pro- design and scene painting. The program duction experience. The program con- Classes are small and the 18-member concludes with a realized and fully-docu- cludes with a realized and fully-docu- resident faculty of working profession- mented thesis production in scene design. mented thesis production in technical als are full-time participants in the train- direction. ing program. Guidance and evaluation Costume Design/Production are regularly given by the faculty to each The program begins with rigorous train- Production Facilities student throughout the three-year pro- ing in the basic skills of life drawing, Graduate students have the opportunity gram. As part of the training process, the rendering, drafting, costume production, to work with one or more of the following faculty occasionaly participates in NCSA the study of costume history and practi- professional theatrical companies which productions as designers and technical design execution. Classes in drawing operate in affiliation with the North Caro- cians. Guest master teachers add to the and rendering continue throughout each lina School of the Arts: curriculum with workshops in special- term of the program. During the second North Carolina Scenic Studios, Inc, ized areas. The studio and production and third years of the program, the areas North Carolina Shakespeare Festival work in which the student participates is of study include cutting and draping, North Carolina Dance Theater of the highest professional level in both millinery, jewelry, armor and prop con- design creativity and technical execution. struction, fabric dying and painting in studio classes and in practical production experience. The program concludes with a realized and fully-documented thesis production in costume design/production.

44 School of Design and Production Facuity Joe Blankinship, Television Production, Sound Recording Colleen Callahan, Costume Production, Cutting and Draping, Costume History Pamela Chapkiin, Drawing, Painting Jannie Davis, Costume Production, Wardrobe Martha Dunigan, Drawing, Sculpture Clyde Fowler, Drawing, Painting Henry Grillo, Technical Production, Car- pentry, Drafting Jim Albert Hobbs, Lighting Design, Stage Management James Hullihan, Technical Production, Welding, Drafting Howard Jones, Scene Painting, Draft- ing, Scene Design Donato Moreno Drawing, Painting, Scenic and Costume Rendering Mark Pirolo, Costume Design, Scene Design, History of Decor David Ramsey, Technical Production, Props and Furniture Construction James Riggs, Stage Management John Sneden, Scene Design Scott Templin, Lighting Design, Sound Design, Computer Programming Christine Turbitt, Costume Production, Costume History, Costume Design Bland Wade, Stage Properties Faculty biographies may be found on pages 29-30.

45 o"

Admission February as a part of the annual League Student Loans, and Minority Presence Each fall a class of ten students is admit- of Professional Theatre Training Pro- Grants. For further information, contact ted to the graduate program. There is no grams national audition tour. Forfurther the NCSA Director of Financial Aid. mid-year admission. information on audition dates contact: Minority Presence Grant Program Graduate Admissions Under the Board of Governors general Admission is based on the following: North Carolina School of the Arts P.O. Box 12189-D Minority Presence Grant Program, black 1 . Portfolio presentation and interview Winston-Salem, NC 27117-2189 students may be eligible forspecial finan- with faculty members. (The portfolio (919) 784-7170 cial assistance if they are residents of should demonstrate present design Tuition and Fees North Carolina, enrolled for at least 3 hours of degree credit course work and and craftsmanshipabilities. This might In-state tuition $ 732/year include previous designs, photographs Out-of-state tuition $2752/year demonstrate financial need. of completed sets and costumes, tech- Lab fee $ 75/year As a participating institution forthe State nical drawings and related artwork of Health fee $ 159/year Guaranteed Student Loan and Federally Activities fee 143/year all types, including drawings, render- $ (Current figures are subject to change) insured Student Loan programs, a ings of theatrical or non-theatrical dependent student may borrow up to three-dimensional work or photo- Financial Assistance $2,500 per year for undergraduate work. graphs of such work.) Graduate students may apply for up to Scholarship/Tuition Reduction $5000 per year. Repayment begins 6 2 . A minimum of two letters of recom- Discretionary scholarships are awarded months after the borrower terminates at mendation from teachers, designers, on the basis of talent and potential with- managers or directors familiar with out regard to financial need upon the least half-time student status. A North the applicant’s work. recommendation of the faculty and dean. Carolina student may seek funds from Out-of-state students who receive scho- The College Foundation, Inc., 1307 3. Successful completion of a Baccalau- larships may also be granted tuition Glenwood Avenue, Raleigh, NC 27605. reate program (BA or BFA) with tran- reductions. Out-of-state residents should write to script(s) from that institution. the financial aid office for the name of Fellowships and Assistantships the lending agency in his/her state. 4 . Submission of the application form Graduate students may also apply for teaching fellowships or shop assistant- with the $15 nonrefundable applica- Housing ships. Appointments are made by the tion fee. Given current undergraduate enrollment dean upon faculty recommendation. Ap- levels, on-campus housing is at a pre- Audition Dates plicants must interview on campus. mium and cannot be guaranteed. Pro- Interviews and portfolio reviews for appli- Financial Aid spective graduate students are advised cants to the graduate program will be The North Carolina School of the Arts is to look into off-campus housing which held on the campus of the North Carol- a participating institution of the follow- may be available in the neighborhood. ina School of the Arts in of March each ing federal/state programs: Pell Grant, When available, on-campus housing and year. In addition, interviews with pro- Supplemental Educational Opportunity board costs are as shown on page 140. spective students will be hald in New Grants, College Work Study, National York, Chicago and San Francisco in Direct Student Loans, Federally Insured

46 Degree Requirements Portfolio Review To be eligible for the degree, a student A portfolio showing will be made at the must successfully complete a minimum end of each year with a final Portfolio of 60 semester hours of graduate credit. Review before the full faculty at the end Students will be placed in classes accord- of the graduating term. Evaluation of ing to their abilities demonstrated by career potential will be an on-going pro- their portfolio, placement tests, or cess, and students will be invited to con- courses taken previously as indicated by tinue in the program only so long as they transcripts. Most students will need three demonstrate substantial growth toward years to complete the program. artistic excellence.

Grading System Thesis Requirement Indication of graduate student achieve- In their final year, students will complete ment is provided by thefollowing grades a fully documented thesis production and assigned quality points: from either a design or technical point of A (4.0) Excellent view. The production will actually be B (3.0) Good produced and presented before the pub- C (2.0) Average lic, and documentation will include, but F (0.0) Failing not be limited to, historical period re-

I Incomplete search, design concepts, renderings, There is no grade of D at the graduate colorsamples, paint elevations, complete level. construction and mechanical drawings, cost estimations, schedules, and photo- graduate student accumulate a A may graphs of the completed production. maximum of eight (8) credit hours of the grade of C and remain enrolled in the graduate program. A graduate student receiving a grade of F in any course will be dropped from the program. No student will graduate from the graduate program with a grade of Incomplete on his or her record. Graduate Curriculum Scene Design

Total 102-123 Credits

FIRST YEAR: 45-48 CREDITS SECOND YEAR: 27-45 CREDITS THIRD YEAR: 30 CREDITS

FIRST TERM: 15-16 CREDITS FIRST TERM 9-15 CREDITS FIRST TERM: 10 CREDITS DEP 151 Color and Design Drawing DEP 464 Drawing (2) DEP 364 (1 ) (1)

DEP 161 (2) Drawing DEP 651 (2) Graduate Scenic Design I DEP 751 (4) Graduate Scene Design II

DEP 174 History of Decor Graduate Scenic Art I DEP 711 Graduate Scenic Art II (2) DEP 611 (1 ) (1 ) *DEP 141 Drafting for the Theatre DEP Thesis (2) DEP 454 (1 ) Rendering 699 (4) DEP 354 (1) Rendering *DEP 247 (2) Stage Properties

DEP 600 (4) Graduate Production I DEP 700 (4) Graduate Production II SECOND TERM: 10 CREDITS DEP 458 (2) Scene Design SetViinar *DEP 171 (2) Costume History and DEP 465 (1) Drawing GES 698 (1) Graduate Theatre Seminar DEP 261 (2) Costume Design or DEP 752 (4) Graduate Scene Design II 'DEP231 (2) Lighting Design DEP 712 (1) Graduate Scenic Art II SECOND TERM: 16 CREDITS DEP 699 (4) Thesis DEP 152 (2) Color and Design SECOND TERM: 9-15 CREDITS DEP 162 (2) Drawing DEP 365 (1) Drawing THIRD TERM: 10 CREDITS

DEP 175 (2) History of Decor DEP 652 (2) Graduate Scene Design I DEP 466 (1 ) Drawing

II DEP 142 (2) Drafting for the Theatre DEP 612 (1) Graduate Scenic Art I DEP 753 (4) Graduate Scene Design DEP 355 (1) Rendering DEP 455 (1) Rendering DEP 713 (1) Graduate Scenic Art II

DEP 600 (4) Graduate Production I *DEP 248 (2) Stage Properties DEP 699 (4) Thesis

DEP 458 (2) Scene Design Seminar DEP 700 (4) Graduate Production II GES 698 (1) Graduate Theatre Seminar ’DEP 172 (2) Costume History and DEP 262 (2) Costume Design or THIRD TERM: 16 CREDITS *DEP 232 (2) Lighting Design DEP 153 (2) Color and Design DEP 163 (2) Drawing THIRD TERM: 9-15 CREDITS DEP 176 (2) History of Decor DEP 366 (1) Drawing

DEP 143 (2) Drafting for the Theatre DEP 653 (2) Graduate Scene Design I

DEP 356 (1) Rendering DEP 613 (1) Graduate Scenic Art I

DEP 600 (4) Graduate Production I DEP 456 (1) Rendering DEP 458 (2) Scene Design Seminar *DEP 249 (2) Stage Properties

GES 698 (1) Graduate Theatre Seminar DEP 700 (4) Graduate Production II *DEP 173 (2) Costume History and *DEP 120 (1 ) Costume Fundamentals taken in DEP 263 (2) Costume Design or lieu of first term Drafting if student places out ‘DEP 233 (2) Lighting Design of first term Drafting. If not, studenttakes DEP 120 Costume Fundamentals first term of (1) ’Highly recommended, but not required. second year. GRADUATE CURRICULUM COSTUME DESIGN/PRODUCTION

Total 117 Credits

FIRST YEAR: 48 CREDITS SECOND YEAR: 36 CREDITS THIRD YEAR: 33 CREDITS

FIRST TERM: 16 CREDITS FIRST TERM: 12 CREDITS FIRST TERM: 11 CREDITS DEP Drawing Drawing DEP 151 (2) Color and Design 364 (1 ) DEP 464 (1) DEP 161 (2) Drawing DEP 174 (2) History of Decor *DEP761 (2or4) Graduate Costume Design II

* II DEP 171 (2) History of Costume DEP 661 (2) Graduate Costume Design I DEP 721 (2 or 4) Graduate Costume Const.

DEP 261 (2) Costume Design DEP 621 (2) Graduate Costume Construction I DEP 699 (4) Thesis

DEP 221 (2) Costume Construction I DEP 454 (1) Rendering DEP 465 (1 ) Drawing * DEP 354 (1) Rendering DEP 700 (4) Graduate Production II DEP 762 (2 or 4) Graduate Costume Design II

* II DEP 600 (4) Graduate Production I DEP 722 (2 or 4) Graduate Costume Const. Theatre SECOND TERM: 12 DEP 699 Thesis GES 698 (1 ) Graduate Seminar CREDITS (4) DEP 365 (1) Drawing SECOND TERM: 16 CREDITS DEP 175 (2) History of Decor THIRD TERM: 11 CREDITS

DEP 152 (2) Color and Design DEP 662 (2) Graduate Costume Design I DEP 466 (1 ) Drawing

II DEP 162 (2) Drawing DEP 622 (2) Graduate Costume Construction I *DEP763 (2 or 4) Graduate Costume Design * DEP 172 (2) History of Costume DEP 455 (1) Rendering DEP 723 (2 or 4) Graduate Costume Const. II DEP 262 (2) Costume Design DEP 700 (4) Graduate Production II DEP 699 (4) Thesis

DEP 222 (2) Costume Construction I DEP 355 (1) Rendering THIRD TERM: 12 CREDITS

DEP 600 (4) Graduate Production I DEP 366 (1) Drawing GES 698 (1) Graduate Theatre Seminar DEP 176 (2) History of Decor

DEP 663 (2) Graduate Costume Design I

THIRD TERM: 16 CREDITS DEP 623 (2) Graduate Costume Construction I

DEP 153 (2) Color and Design DEP 456 (1 ) Rendering DEP 163 (2) Drawing DEP 700 (4) Graduate Production II DEP 173 (2) History of Costume DEP 263 (2) Costume Design

DEP 223 (2) Costume Construction I DEP 356 (1) Rendering

DEP 600 (4) Graduate Production I GES 698 (1) Graduate Theatre Seminar GRADUATE CURRICULUM TECHNICAL DIRECTION

Total 114-117 Credits

FIRST YEAR: 45-48 CREDITS SECOND YEAR: 42 CREDITS THIRD YEAR: 27 CREDITS

FIRST TERM: 15-16 CREDITS FIRST TERM: 14 CREDITS FIRST TERM: 9 CREDITS *DEP 141 (2) Drafting for the Theatre DEP 614 (2) Advanced Theatre Technology DEP 641 (2) Theatre Production Management

DEP 151 (2) Color and Design DEP 617 (2) Graduate Technical Direction DEP 611 (1) Graduate Scenic Art I DEP417 (2) Advanced Stagecraft DEP 234 (2) Stage Electrics DEP 699 (4) Thesis DEP 214 (1) Welding DEP 241 (2) Furniture and Woodworking *DEP Elective (2) DEP 174 (2) History of Decor DEP 700 (6) Graduate Production II

DEP 600 (6) Graduate Production I SECOND TERM: 9 CREDITS GES 698 (1) Graduate Theatre Seminar SECOND TERM: 14 CREDITS DEP 642 (2) Theatre Production Management

DEP 615 (2) Advanced Theatre Technology DEP 612 (1) Graduate Scenic Art I SECOND TERM: 15-16 CREDITS DEP 618 (2) Graduate Technical Direction DEP 699 (4) Thesis DEP 142 (2) Drafting for the Theatre DEP 325 (2) Stage Electrics *DEP Elective (2) DEP 152 (2) Color and Design DEP 242 (2) Furniture and Woodworking DEP 418 (2) Advanced Stagecraft DEP 700 (6) Graduate Production II THIRD TERM: 9 CREDITS DEP 215 (1) Welding DEP643 (2) Theatre Production Management

DEP 175 (2) History of Decor THIRD TERM: 14 CREDITS DEP 613 (1) Graduate Scenic Art I

DEP 600 (6) Graduate Production I DEP 616 (2) Advanced Theatre Technology DEP 699 (4) Thesis GES 698 (1) Graduate Theatre Seminar DEP 619 (2) Graduate Technical Direction *DEP Elective (2) DEP 236 (2) Stage Electrics THIRD TERM: 16 CREDITS DEP 243 (2) Furniture and Woodworking 'Elective to be selected from courses in Scene

DEP 143 (2) Drafting for the Theatre DEP 700 (6) Graduate Production II Design, Stage Properties, Lighting Design, DEP 153 (2) Color and Design Costume Construction, Sound and Electron- DEP 419 (2) Advanced Stagecraft ics or Drawing with approval of Graduate DEP 216 (1) Welding Advisor. DEP 176 (2) History of Decor

DEP 600 (6) Graduate Production I GES 698 (1) Graduate Theatre Seminar

*DEP 120 (1) Costume Fundamentalstaken in lieu of first term drafting if student places out of first term Drafting. If not, students take DEP 120 (1) Costume Fundamentals first term of second year.

Course Descriptions DEP 651, 652, 653

Graduate Scenic Design I (2 Credits Each Term) DEP 600, 700 Graduate Production (4 or 6 Credits Each Term) Acquisition and development of skills in conceptualizing the scenic Practical laboratory application of all phases of design and technical design and preparing itforexecution by scenictechnicians. Emphasis production. Students enroll each term they are in residence. is placed on developing facility and speed with the designer’s mechan- DEP 611, 612, 613 ical and graphic skills and solving the design problems of multi-set DEP 711, 712, 713 production in theatre, opera, dance and musical theatre through lecture/discussion/critique sessions and directed study. Graduate Scenic Art I and II (1 Credit Each Term) Development of scene painting skills with a continued emphasis on DEP 661, 662, 663

speed and facility. Further exploration and skills development in three- Graduate Costume Design I (2 Credits Each Term) dimensional techniques. Practice sessions to stimulate United Scenic Continued development of skills needed to produce larger and more Artists Examination situation. Studio and directed study. complex costume design projects. In-depth involvement with com- DEP614, 615, 616 plete production concepts and packages through lecture and critique Advanced Theatre Technology (2 Credits Each Term) sessions. Acquisition and development of basic and advanced analytical methods DEP 699 Thesis (4 Credits Each Term) for designing stage structures including decks, bridges, cantilevers Preparation and submission of a fully documented production thesis and trusses through lecture and critique sessions. in the student’s area of concentration; scene design; costume design DEP 617, 618, 619 and production; or, technical direction. The production will be fully Graduate Technical Direction (2 Credits>Each Term) produced and presented before the public. Documentation will include Study in depth of the functions and responsibilities of production and design concepts, research material, renderings, fabric/paint samples, scene shop supervisors through studio/laboratory sessions. elevations, complete construction and mechanical drawings, cost estimates, schedules and photographs of the completed production. DEP 621, 622, 623 Directed study. Graduate Costume Construction I (2 Credits Each Term) Continued study and development of skills in draping and flat pattern- DEP 721, 722, 723 ing, basic tailoring and yardage estimating through lecture and labora- Graduate Costume Construction II (2 or 4 Credits Each Term) tory sessions. Advanced study of costume cutting, draping, millinery, jewelry making and wig styling. DEP 641, 642, 643 Theatre Production Management (2 Credits Each Term) DEP 751, 752, 753 Study of general management for the theatre with emphasis on the Graduate Scenic Design II (4 Credits Each Term) duties of the production manager through lecture and discussion Directed study in scenic design for theatre, opera, ballet and musical sessions. theatre for the most advanced student. DEP 761, 762, 763

Graduate Costume Design II (2 or 4 Credits Each Term) Development of the costume design portfolio. A fully realized design for a major production.

The Four Year Professional Training Studio 1—A Pre-Professional program The emphasis in the schooi is on a pro- Program available to In-State Students Only gressive coherent program, stressing unit The fundamental aim of the School of The faculty of the School of Drama rec- and ensembie work, technicai compe- Drama isto train studentsto beexciting, ognizes that many young people audi- tence, adventurous creativity and pro- experienced, technically accomplished tioning for the program, although indis- fessionai responsibility. professional actors. putably talented, need certain technical preparation, maturity and information about The course is an exacting one in which theatre. It is with these problems in mind, the international faculty set rigorous, and the recognition that it is impossible reasonable standards. The program is a to deal with these problems while pursu- full four years of developmental training ing the intensive professional training, in which most major areas of western that the Studio I Program was instituted. drama are dealt with.

Enrollment in Studio 1 is reserved for The program begins with Studio 2. It North Carolina residents only. These helps the student in determining what students must meet the requirements makes an actor, beginning with creative specified in the North Carolina School of and technical examination of the craft. the Arts catalog forgeneral admission to Studios 3 and 4 have a thematic approach. the college level program. Enrollment is In each term a certain area of drama is limited to twenty students. studied in voice, movement, period and style, fights, dances, culminating daily in Studio 1 is a college level program de- a rehearsal of a play of the period. In signed to be completed by the students order to develop the imaginative and in one academic year, or three succes- technical resources of the student actor, sive ten-week terms. It offers classes in special skills such as mime and mask Acting, Voice and Speech, Movement, work are also studied. and practical theatre background. The student will also be required to partici- The Company is the final year of the pate in the General Studies Program so program, in which the skills of working that a broad educational experience is as an ensemble and an encouragement assured. to artistic independence are developed. Senior students play a season of reper- Students participating in Studio 1 earn tory in the School’s Agnes de Mille Thea- transferable college credit in both Drama tre and tour the Eastern United States for and General Studies. approximately six weeks.

53 )

Malcolm Morrison, Dean of the School Alan Rust, Assistant Dean (1983); Voice appeared in the part of Clown and served as a of Drama (1976) and Speech (1980) technical advisor in the Columbia Picture’s Artistic Director, North Carolina Shakespeare M.F.A., Ohio University. B.A., Adrian College. movie ’’Moscow on The Hudson,” and the Festival, Diploma of Rose Bruford College, At NCSA he has directed "School For Scan- appeared on CBS’s Captain Kangaroo program. Has taught at the York Univer- England, Diploma in Mime and Stage Move- dal,” “Much Ado About Nothing” and "The New ment, Theatre on the Balustrade, Prague. Miracle Worker.” He directed “Kiss Me Kate” sity School of the Arts, University of North Carolina at Greensboro, International Associate of the Drama Board of Great Bri- for the gala opening of the Roger L. Stevens School for tain, Certificate of the International Phonetics Center for the Performing Arts. He appeared Movement Theatre, Moscow Lunacharsky Association. Formerly Resident Director at with the North Carolina Shakespeare Festival State University of Theatre Arts, Moscow of Rose Bruford College, England. Lecturer at in “A Comedy of Errors”, “Just A Song At Academy School Circus & Variety Arts. with University of London and City Literary Insti- Twilight,” “The Hollow Crown,” and “A Christ- Performing the Belovs’ Contemporary tute, London. Director and teacher Meadow- mas Carol.” He has appeared in New York in Clown Drama. brook Theatre, Michigan. Director in Regional “The Three Musketeers” and “Broadway” as Patrick Byers, Resident Composer ( 1 980 Repertory Theatres and in London. Master- well as with regional theatres in Ohio, Michi- B.M. Composition, North Carolina School of classes, directing and teaching in Moscow, gan and Massachusetts. Mr. Rust is the Artis- the Arts. Giannini Scholar. Studied composi- Prague, Jamaica, Eire, Malta, Canada and tic Director of the Monomoy Theatre on Cape tion with Robert Ward, Karel Husa, and or- Australia. Authorof "ClearSpeech." Revising Cod where he has worked for several seasons chestration with Sir Leo Arnaud. Studied Editor for Clifford Turner’s “Voice and Speech as an actor and director. piano with Olegna Fuschi and Irwin Freund- in the Theatre." Contributor to many journals Barbara Beattie, Singing (1982) lich. Resident composerwith the North Caro- on acting and theatre speech. Member of the B.M., Virginia Commonwealth University. lina Shakespeare Festival. Arranger and or- National Theatre Association. chestratorforthe Winston-Salem Graduate studies at the University of North Symphony. Original scores include Is,” “Far From Patricia Harmeson, A dm /n/s fra f/Ve Secre- Carolina at Greensboro. Voice training with "Jazz the Madding Crowd,” “The Miracle Worker,” tary (1977) Douglas Morris, V. Lomascolo and Joan “Macbeth,” “The Importance of Being Earn- B.S. University of North Carolina at Greens- Jacobowsky. Founder and director of The est,” “King Lear.” Concert artist in the North boro Spectrum Singers. Conceived, directed, and Carolina Shakespeare Festival’s “The Hollow performed in “American Songsof the 1860’s.” Rita Swain, Secretary (1982) Soloist with the Winston-Salem Symphony, Crown” and “Infamous Love.” Lesley Hunt, Assistant Dean (1976); Co- 1980. Productions include ’’Oklahoma,” Robert Francesconi, Director Pre-Profes- ordinator of Voice and Speech Instruc- "Showboat,” “Everything in the Garden,” sional Actor Training Program (1983); “Dirty Works at the Crossroads,” “The Night tion, Speech (1968) Acting, Movement (1978) Thoreau Spent in Jail.” Graduate of Rose Bruford College, England. M.A., B.A., Humboldt State University. Artis- Performed On Broadway, Off Broadway and Yury Belov,Acf/ng, Stanislavski tech- tic Director, South Carolina Governor’s School in National Touring companies; also at The niques, Comedy Acting, Director (1982) for the Arts, Drama School. Director, teacher Berkshire Theatre Festival and The Paper Mill Lunacharsky State University of Theatre Arts, and actor, Columbia College and Humboldt Playhouse. Representative productions in New Moscow, USSR, 1957-1962. Diploma with State University. Teacher and actor with the York are: "Oliver,” “A Man For All Seasons,” Honor, Degree: Director and Producer of Menagerie Mime Theatre, and The Grand "The Visit,” "Dracula,” “The Waters of Baby- Dramatic Theatre. State Academy School of Comedy Festival. Appearances with the North lon,” "The Women.” Appeared in London’s Circus & Variety Arts, Moscow, USSR, 1953- Carolina Shakespeare Festival. Guest Artist West End and on BBC Television as well as 1 957, Degree: Actor of Circus & Variety Shows. and Lecturer, College of Notre Dame, Wash- NBC Hallmark Hall of Fame productions in Artistic Director, Moscow State Music Hall ington State University, Mercer University, New York. NCSA faculty productions “Luv,” Theatreand Moscow Clown PantomimeThe- Washington University, Weber State College, "The Prime of Miss Jean Brodie,” “The Les- atre. Has directed for International Festivals, Brigham Young University, University of Idaho, sons,” "Dear Liar” and “I’m Herbert” with Theatre for the New City and Theatre of Riv- College of William and Mary, Long Beach Contemporary Performance Ensemble. Appear- erside Church (NYC), Moscow State Circus, State University, San Fernando State Univer- ances with The North Carolina Shakespeare Moscow Academy Mossovet Drama Theatre, sity, Consultant and Master Classes in Crea- Festival. Senior faculty member. Moscow Drama Stanislavski Theatre. Has tive Drama, Improvisation, Mime and Clown-

54 ing. Guest teacher and guest artist, Interna- bat Director, Playmakers Repertory, Chapel Dolores Dardarian Simonel, Singing tional Mime Festival and Institute 1974, 1978. Hill; Guest Lecturer, N.C. State University, (1971) Theatre Consultant, South Carolina Arts Com- Forest Wake University, Pembroke College, B.S. degree, Wayne State University; Gradu- mission. Essex College, Mint Museum, University of ate studies. University of Michigan. Vocal Wisconsin, Southern Theatre Conference, Sidney HibberX, Voice and Speech (1983) studies and extended operatic coaching with U.N.C. Asheville. Captain two consecutive Licentiate Royal Academy of Dramatic Art, Carolina Segrera and in Europe with Maes- National (AAU and NCAA) Championship London; Licentiate (Teachers) Guildhall School tros Confalonieri, Ruffo, Patane and Vedo- Gymnastics Teams. Senior faculty member. of Music and Drama, London; M.A. Speech velli. Winner, American Opera Auditions. Euro- Most recently Mr. Murray served as guest Communication and Theatre Arts, Illinois State pean operatic debut in Milano, Italy as Cio-Cio- director with the N.C. Shakespeare Festival University. Formerly Drama Director, Living- San in “Madame Butterfly.” La Scala Opera, and appeared with Indiana Repertory Theatre ston College, Rutgers University, Harlem (1962-63 season). Soloist, Detroit Symphony, as a member of the Acting Ensemble as well School of the Arts, New York. Lecturer, Cali- Baroque Ensembles, New Music Forums, De- as serving as Stage Combat Choreographer. fornia State University, Los Angeles, North- troit Sinfonietta, Town Hall and Blue Hill, ridge and Pomona. Director Special Programs, Cigdem Onat, Acting (1979) Maine. Has appeared as Tuptim in “King and I” and Fiona in “Brigadoon”. Extensive night Illinois State University and Associate Direc- A. B., Robert College, Istanbul, M.A., UNC club appearances in Bermuda, Miami, and tor, Performing Tree, Inc., Los Angeles. Chapel Hill, Centre de L’Est, Stage Conserva- New York’s Latin Quarter, Viennese Lantern, Awarded Los Angeles Drama Critics Award in tory of France—concentration on directing. re- 1982; Shakespeare Characterization Award, Actress with the State Theatre of Turkey, Kent Cafe Pompei, Hotel Pierre. Commercial television radio. Simonel Croydon Art Festival, London; two British Players, Playmakers Repertory Theatre. Ap- cordings, and Mrs. has served as a district judge for the Metropol- Council and Arts Council of Great Britain peared as Viola in “Twelfth Night” at Theatre Drama Awards. des Nations, Paris. Master teacher of Acting itan opera auditions. in Universities and Colleges. Guest director Mollie Murray, Movement (1969) Jared Sakren, Masks, Director (1982) for various international festivals. Jazz training under Matt Mattox, Luigi, Tony B.F.A., The Juilliard School. Received a Juil- Stevens, Ron DeMarco. Member of Matt Mat- Martin Rader, Acting (1975) liard Fellowship to study with Pierre LeFeure tox concert company. Ballet training at Ballet B. A., SUNY, M.F.A. Pennsylvania State Uni- and become his assistant for the teaching of Arts and Ballet Theatre. Appeared in "Music versity. He has studied professionally with Masks. A charter member of John House- Man,” “Molly Brown." Regular dancer with Richard Eledman, Manuel Duque, Dick Shank man’s The Acting Company. He has taught at Hugh Lambert dancers on Ed Sullivan televi- and Kelly Yeaton. Before coming to NCSA in Yale School of Drama, American Conserva- sion show. Lead dancer in musical “Jennie,” 1975, he taught at Penn State, Harvard, Loeb tory Theatre, Circle Repertory Company, Univer- starring Mary Martin and choreographed by Theatre, and at the Theatre Project in Balti- sity of North Carolina at Chapel Hill, New Carol Haney. more where he helped to develop an alterna- York Pantomine Theatre, and the Juilliard tive Theatre Network. He has directed at Chi- Theatre Center where he is also a regular Robert Murray, Director of Stage Fights, mera Theatre in St. Paul, Minnesota, Monomoy guest director. Hehasacted professionally on Acting, Director (1968) Theatre in Chatham, Massachusetts, Anne national tours with The Acting Company, on Graduate of Florida State University. col- Post Russell Theatre in Winter Park, Florida, and and off-Broadway, and, most recently, with lege studies; (Acting) Harold Clurman, Wyn the North Carolina Shakespeare Festival in the North Carolina Shakespeare Festival. Handman, Philip Burton and Douglas Seale; High Point. Among the plays he has directed (Dance) Don Farnworth, Mme. Youskevitch, at NCSA are “Indulgences in a Louisville Mme. Anderson, Matt Mattox and Luigi. Pro- Harem,” “Dylan,” “Farmyard,” “Hot L Balti- fessional experience: (Broadway) “Carnival,” more,” “The Diary of Anne Frank,” “The directed by Gower Champion, “Jennie,” di- Diviners” and “Fifth of July.” rected by Vincent Donohue and “Luv” directed by Mike Nichols (T.V.) Garry Moore Show, The Nurses, For the People and many others. Acting coach to Kaye Ballard, Joan Rivers, Dorn DeLuise and many others. Stage Com-

55 Tunc Yalman, Resident Director, Acting

( 1976 ) M.F.A.. Yale University, School of Drama, Actor-Director, Dormen Company, Istanbul City Theatre. Artistic Director, Milwaukee mm Repertory Theatre. Has directed on and off- Broadway, for European festivals, and the National Theatre of T urkey. Regional theatre I credits include: Cleveland Playhouse, Asolo Theatre, Missouri Rep, Eugene O'Neill Play- wrights Conference, Seattle's ACT, Carolina Playmaker's Rep, Loeb Theatre. Visiting professor and/or director at Carnegie/Mellon, University of Washington Professional T raining Program, NYU, Wrights State University, Harvard, University of Missouri-Kansas City, UNC-Chapel Hill. Playwright and translator. Theatre consultant to the late Louis Kahn, Rockefeller Foundation Fellow and grantee. Guests: Peter Bennett, Acting; James Donlon, Mime; Pamela Zarit, Television Commercial Technique; Johanna Morri- son, Voice and Speech; Dan Ellentuck, Playwright; Mari Lyn Henry, David Var- nay. Television Acting Technique; Rae Allen, Susan Gregg, Tom Gruenwald, James Dodding, Kevin Kelley, Terry Kester, MichaelJohn McGann, Pedro Silva, Roger Hendricks Simon, John Wood- son, Patricia Conolly, Kent Thompson, Directors.

Distinguished Guest Teacher: Miss Rose- mary Harris.

The Matchmaker'

56 Admission to the Program League of Professional Theatre T raining All grades are determined by a confer- College students are admitted to the Programs ence of the full drama faculty. program by audition and interview. The The School of Drama at North Carolina Elective Arts courses when offered are applicant should prepare two contrast- School of the Arts is a member of the graded on a Pass-Fail basis. ing cuttings, both may be from contem- League of Professional Theatre T raining porary plays, one to two minutes for Programs. Minimum Grade Requirements each selection. Each cutting should stand The League coordinates audition sched- STUDIO 2 on its own as a monologue. Do not use ules of eleven of the nation’s major act- The freshman year is a probationary foreign dialects or character voice. The ing schools, providing students with the year. Students are expected to gain a 2.0 cuttings must be done from memory. If opportunity to audition for more than average overall for each term. you sing, please be prepared to sing 8-16 one school. STUDIO 3, STUDIO 4, THE COMPANY bars of a song of your choice without Forfurther information on League mem- Students at each of these levels must accompaniment. Dress appropriately for bers and coordinated audition dates, achieve a cumulative average of at least a rehearsal situation. Costumes and props please write: 2.50. After grades have been considered are unnecessary. Candidates recom- League of Professional Theatre at the end of each term, the faculty mended by the auditions board are Training Programs determines if astudentshould be placed screened by the Admissions Committee 1860 Broadway on Arts Probation for the following term potential in regard to academic record, York, N.Y. 10023 New based on these criteria: (1) ability to and social maturity. Att'n: Sharon Jensen absorb instruction; (2) assessment of Sanford Scholarship Competition Continuance in the Program basic talent: (3) ability to work and pro- Sanford Scholarship Competition, Fri- Students are invited to continue in the duce a performance. A student placed day, January 25, 1 985 (open only to North program only so long as they demon- on Arts Probation who fails to meet the Carolina High School students). Four strate substantial growth toward artistic stated criteria in the succeeding term fullone-yearscholarshipstobeawarded— excellence. will not be eligible to continue in the one each in the fields of Dance, Design, Classification program. and Production or Visual Arts, Drama College students are classified accord- and Music. Failing Grades ing to their level of advancement in the or F in required Arts courses Audition Grades of D Dates arts program. The normal pattern of are failing grades and indicate a serious Auditions will be held at the North Caro- progression is one year in each level. problem. Depending on the nature and lina School of the Arts on the following Most entering students (college fresh- extent of the problem, the faculty may, at dates: men or college transfers) are placed in its discretion, require either: 1) that the February 23, March 9. 2, 9, 16, 2, the first year program. See Advanced student repeat the course or a suitable Placement. alternate course, or 2) that the student Grading System repeat the year with or without a period of the A, B, C, D The School Drama uses of suspension, or 3) that the student not for and F grading system. Numerically, be permitted to continue in the program purposes of calculating grade averages: past the end of the current school year. A =4, B = 3, C = 2, D = 1 and F = O.

57 Evaluation (other than grades) In addition to assigning grades as an evaluation of a student’s work, each teacher is expected to provide a written comment and/or arrange an interview with each student to give specific obser- vations about the student’s work and progress. Students are encouraged to discuss with the faculty, at any time, problems and progress in their work.

Advanced Placement T ransfer arts credit from other programs and institutions is not normally given. The normal manner of acknowledging prior training is by advanced placement credit. Transfer students and entering students with substantial previous professional training may, at the discretion of the faculty, be placed in Studio 3 either at the time of admission or at the beginning of the second or third term. Students so advanced in the program are awarded commensurate advanced placement credit.

Requirements for a Diploma in Drama

A Diploma in Drama is awarded upon

completion of all arts requirements.

58 Requirements for a Bachelor of Fine Arts Degree in Drama General Studies Course Requirements Arts Course Requirements and Credit Value A total of 36 credit hours which must include the following; GES 101, 102, 103: Critical Perspectives, or equivalent credit Credits Per Credits Per credits) STUDIO M Course Year (6 DRA 131, 132. 133 Technical Production 2 6 GES 141, 142, 143, 144, 145, 146: World Theatre (12 credits)

DRA 201, 202, 203, Acting 1 2 6 GES 21 1 , 212, 213: Foundations of Values in the DRA 211, 212, 213 Voice & Speech 1 2 6 Humanities and the Arts credits) DRA 214, 215, 216 Singing Class 1 3 (6

DRA 221, 222, 223 Movement 1 2 6 Natural Science Elective (2 credits) DRA 260 Special Techniques 2 6 General Studies Electives (10 credits) 33 For additional information regarding requirements for the STUDIO III Degree, see pages 107-108. DRA 301, 302, 303 Acting II 2 6

DRA 311, 312, 313, Voice & Speech II 2 6 all DRA 314, 315, 316 Singing Class 1 3 A 2.0 cumulative grade average is required for general

DRA 321 , 322, 323 Movement II 2 6 studies courses taken. DRA 360 Special Techniques 2 6 DRA 300 Rehearsal & Performance 2 6 Total credits for degree: 33 General Studies credits 36

STUDIO IV Arts credits (Drama) 135 DRA 401, 402, 403 Acting III 2 6 Total (for 4 year program) 171 DRA 411, 412, 413 Voice & Speech III 2 6 DRA 414, 415, 416 Singing Class 2 6

DRA 421, 422, 423 Movement III 1 3 DRA 460, Special Techniques 2 6 Additionally, those North Carolina residents invited into the DRA 400 Rehearsal & Performance 2 6 STUDIO 1 Level are required to take the following arts 33 courses: THE COMPANY DRA 499 Acting Ensemble 12 36 Credits Per Credits Per

STUDIO I Course Year Elective Credit Values 101 103 Acting 2 6 DRA . 102. Fundamentals DRA 119 Private Singing Instruction (1 credit per term) 1 1 1 1 1 of Voice 2 6 DRA 1 . 2. 13 Fundamentals & Speech DRA 114, 115, 116 Fundamentals of Singing 1 3 123 of 2 6 DRA 121 , 122, Fundamentals Movement DRA 160 Special Techniques 2 6

27 Total credits for degree: General Studies credits 36 Arts credits (Drama) 162

Total (For 5 Year Program) 192

59 "The Miracle Worker”

60 Descriptions Course DRA 201, 202, 203 Acting I

DRA 101, 102, 103 Acting Fundamentals DRA 301, 302, 303 Acting li To begin the process of developing a genuine understanding of the DRA 401, 402, 403 Acting iii actor's art and the nature of the elements of which it is composed; and These are core courses in the Drama School. to explore techniques and theories essential to theatrical perfor- In STUDIO 2 the student is encouraged to examine the means by mance. Specific topics: improvisation, fundamentals of acting, scene which he becomes an actor, through improvisation, scene study and study, and scene presentation. finally improvising a play.

DRA 111, 112, 113 Fundamentals of Voice and Speech STUDIO 3 begins work which is continued in STUDIO 4 in which each To begin the process of developing voice and speech for the stage. term’s study is based around a theme, such as “Restoration Comedy” Classes will stress good breathing habits, awareness of vocal capacity or “Theatre of the Absurd.” These term themes are fully explored to in terms of placement, eradication of intensive regionalisms, devel- reveal problems of acting in various styles and to provide the student opment of awareness that the voice is a creative expressive instru- with a comprehensive view of his craft, and its traditions. Each “theme” ment. Voice classes are designed to release tension and to find free- culminates in actual rehearsal and performance of a pidy in that genre. dom of the voice in order to build a natural sound. Speech class is The teaching associated with the core courses is gauged to develop designed to correct speech faults dealing with articulation and to creativity and imagination while providing a sound technique where develop the voice as a working instrument. the actor learns to control his performance. The balance between

DRA 114, 115, 116 Fundamentals of Singing "instinct” and "skill” is an important part of the course. Designed to develop relaxation, breath, balance, and postures; and to DRA 211, 212, 213 Voice and Speech I train the ear and teach music fundamentals. DRA 311, 312, 313 Voice and Speech li

DRA 121, 122, 123 Fundamentals of Movement DRA 411, 412, 413 Voice and Speech III Designed to begin the process of developing an awareness of expres- These classes begin with a basic understanding of the vocal instru- sive artistic movement. Specific topics will include: Alexander Tech- ment and its healthy and effective use in theatre. nique, jazz dance, theatre pantomime, movement, mime and gymnas- All aspects of technique are established and the creative and interpre- tics, and physical conditioning. tive use of the voice is explored. These classes support the work done DRA 160 Special Techniques on the acting core course, and the problems of delivering various This course includes special classes designed to give the students styles of drama, including verse, are seriously considered. added insight and experience in in these areas not normally included Individual coaching in specific dialects and specific roles is an impor- traditional acting classes. Special topics will include: mask, readers tant feature of the courses, as well as individual remedial help for those theatre, oral interpretation, audition techniques, stage combat, make- with specific problems. up, clowning skills, directing projects. DRA 214, 215, 216 Singing Class DRA 314, 315, 316 Singing Class

Singing Classes are taken by all students. They include reading of music, chorus work, voice production. DRA 414, 415, 416 Singing Tutorials Offered at the discretion of the singing teacher, to those students who might most benefit from them.

61 DRA 221, 222, 223 Movement I DRA 499 Acting Ensemble

DRA 321, 322, 323 Movement II This final year is run as a company with daily limbers, major produc-

DRA 421, 422, 423 Movement III tions, a three-play repertory and approximately six weeks of touring

The movement training is calculated to produce flexible, strong, well the Eastern United States.

coordinated bodies which will respond easily and readily to the actors’ In addition classes are given in audition technique (including films and creative demands. The work includes Jazz Dance, Alexander Tech- television), master classes from distinguished members of the acting

nique and Stage Movement. profession and all graduating students are presented in New York to

Mime is a special and important feature of the course in which a full managements, agents and casting directors for theatre, films, and examination of movement as a performing art is fully considered. television. DRA 131, 132, 133 Technical Theatre A series of three introductory courses in each of costuming, lighting and scenery. Basic design concepts are examined. Students learn the use of equipment and basic construction techniques. Production crew assignments are undertaken by each student during

the course of the year. Each assignment is either as a member of a construction crew for a major production, a member of a running crew for a major production or a member of both the construction and running crews of a workshop production. Skills and knowledge gained in technical theatre classes are utilized in actual production duties. DRA 300 Rehearsal and Performance DRA 400 Rehearsal and Performance The rehearsal period and performance are utilized by faculty and guest directors to extend the training of the studio into a further dimension. The actor is observed during performance and helped to maintain a growing, spontaneous and disciplined performance through

the run of a production. The student is assisted in developing a responsible professional attitude and approach to the work of both rehearsal and performance. DRA 160 Special Techniques DRA 260 Special Techniques DRA 360 Special Techniques DRA 460 Special Techniques This area includes stage fights, including the history of weapons, period and style classes dealing with social background, dances and movement and manners of various periods. Classes are also given in mask work and clowning.

Miss Helen Hayes

62 1983-84 Highlights “The Importance of Being Earnest” by Oscar Wilde, directed by Tunc Yalman A very successful production of “Strider” and “The Secret Affairs of Mildred Wild” was the school’s first drama presenta- by Paul Zindel, directed by Yury Belov tion in the Stevens Center in the fall. were presented by the junior students in The Intensive Arts period was an excit- the spring. ing one in the Drama School. Guests Seniorstudentsauditioned in April before included NCSA alumni Terrence V. Mann approximately 200 casting directors, pro- and Robert Hoshour, currently starring ducers and agency representatives as in "Cats,” Thomas Hulce, currently star- part of the annual actor presentations ring in the film “Amadeus,” and Joyce sponsored by the League of Professional Reehling Christopher who appeared in Theatre Training Programs. both the Broadway and film productions of “Fifth of July.” Also on hand were In June the School of Drama presented artistic directors Michael Langham and its first New York Showcase at the Won- Fred Chappell; casting directors Rose- derhorse Theatre. This was a well received marieTichlerand Corey Madden; actress presentation of two one-act plays writ- Patricia Conolly; Executive Producer of ten by NCSA alumni, “Oregon” by Peter The Acting Company; Margot Harley; Hedges and “Tiny Demons” by Angus and Sharon Jensen, Executive Director MacLachlan. Both plays were directed of the League of Professional Theatre and performed by NCSA drama faculty, Training Programs. alumni and current students and provided extremely important New York The Company, senior drama students exposure for the school. performing in repertory, presented Wil- liam Gibson’s “The Miracle Worker,” directed by Alan Rust; Lanford Wilson’s “Fifth of July,” directed by Martin Rader; and Thornton Wilder’s “The Matchmaker,” directed by MichaelJohn McGann. They then had a very successful tour of the East Coast and North Carolina with the repertory.

63 C

A professional theatre operated in affiliation with the North Carolina School of the Arts

The North Carolina Shakespeare Fes- tival serves the state of North Caro- lina, offering a professional classical repertoire in residence and on tour.

It is the resident company of the superb theatre in High Point, N.C.

Malcolm Morrison Artistic Director Pedro Silva Managing Director

The North Carolina Shakespeare Festival producti

64 Board of Trustees Eric Paisley, Winston-Salem William DiPaolo, High Point Bill Wright, High Point David Covington, High Point Eugene Bohi, High Point Jake Froelich, High Point Joan Samet, High Point Earl N. Phillips, Jr., High Point Dr. Ron Cox, High Point LeeTrone, Greensboro Charles Lucht, High Point Nathalie Wood, High Point Carl Hoffman, High Point Hayden Clement, Greensboro Leigh Rose, Winston-Salem Meredith Spangler, Charlotte Jim Morgan, High Point

) )

The School of Music seeks to prepare its Robert Hickok, Dean of the School of Eugenia R. Richardson, Secretary (1979) students for careers in which they will Music (1977) Betty Allen, Voice (1978) attain the highest musical aspirations B.M., Yale University School of Music. Pupil Wilberforce U. Hartt School of Music, Witten- of Paul Hindemith, Conductor Chorus of and meet thechallengeof succeeding in — berg (DHL). Coached with More, Segera, Albertus Magnus College (New Haven), 1949- a highly competitive profession. The pro- Ulanovsky, Frijsch, Milanov, New York debut 50; United States Navy School of Music, 1950- in Hall, 1958. Operatic debut, Teatro is provide Town gram of study designed to 52; Brooklyn College Chorus, Chorale and Colon, 1964, Appearances with Bernstein, both an artistic sanctuary in which each Festival Chorus and Orchestra, 1952-73; Artis- Munch, Maazel, Boulez, Ormandy, Stoknowski, tic Director and Conductor Annual Festival of student pursues his/her personal musi- Leinsdorf, Casals, Caldwell. Numerous re- Baroque Music, 1954-62— first U.S. perfor- cal developmentand a professional train- cordings, recitals, and television appear- of Cazzati, Marc- mances works by Campra, of Music. ing ground where the student is actively ances. Faculty, Manhattan School Antoine Charpentier, A. Scarlatti and Vivaldi. Guest artist with Philadelphia Opera Company. and realistically involved in preparing for Conductor— New Haven Chorale, 1959-61; the practical aspects of making a living Washington Square Chamber Orchestra, 1963- Larry Almeida, Guitar (1983) as a musician. 64; Conductor— Cantata Singers of New York 1967-70; Head of Choral Department and B.M. (Guitar) San Francisco Conservatory of Central to the curriculum and constant Conductor— Manhattan School of Music, Music. M.A. (Guitar) San Francisco State 1967-73. Mozart Chamber Orchestra, 1969- University. Studies on Guitar with Michael at all stages of study are private instruc- 70; Founder and Conductor— Janus Chorale Lorimerand Aaron Shearer. Instructorin Gui- tion and experience in public perfor- of New York, 1969-73— performances in Car- tar San Francisco Conservatory, Preparatory, mance. Other components, such as study negie Hall, Town Hall, New York University, Extension, and Collegiate Departments. of music fundamentals, studies in litera- Rockefeller University and Alice Tully Hall. Instructor NCSA Community Music School. Or- ture and style, and other courses have Conductor— Brooklyn College Symphony Extensive solo and chamber performances on chestra, 1974-76. Chairman, Department of the West Coast. been designed to provide support for Music, Brooklyn College, 1962-69. Dean, Rebecca Barrow, Piano, Basic Musician- and directly apply to performance. School of Performing Arts, Brooklyn College, 1973-77. Certificate of Merit, Yale University ship (1965) Each student pursues his/her course of School of Music Alumni Association 1983. B.M., Milikin University; student of Elizabeth musical study with an outstanding faculty, Travis. M.S., The Juilliard School; student of Carol Palm, Assistant Dean (1981 who as professionals in their own area of Irwin Freundlich. Also studied with Jacob Graduate of Minnesota School of Business; Lateiner, Olegna Fuschi, Guido Agosti, Cham- expertise as performers and composers Psychology Studies, Brookdale College, ber music study at Yale Summer School of are committed to the ideals of continu- Assistant, Child- Salem College; Teaching Music and Art. Finalist in Merriweather Post ing theirown professional careers while, rens’ Unit Marlboro State Hospital, Marlboro, contest. Dasch Award winner. Soloist with Administrative atthesametime, imparting this wealth of New Jersey (1967-1972); Austin, Texas Symphony as winner of Assistant Psychology/Education Department, experience and knowledge to their Brewster-Allison award. Concerts in Italy and Salem College (1973-1977); North Carolina Mexico. Member of Phi Kappa Lambda, Ful- students. School of the Arts School of Music (1977-1981 bright grant to Italy, 1968-1969. Judy Anderson, Administrative Secretary William Beck, Voice, Opera (1969) To the Dean of Music (1982) A.B. Duke University; M.M., Manhattan School of Music. Teaching Fellowship at Tu lane Uni- versity. Graduate studies at the Juilliard School. Leading baritone at New York City Opera for nine seasons. Made guest appearances in many opera companies, such as San Antonio, Baltimore, Philadelphia, Miami, Group for Contemporary Music, Ensemble John Ellis, Qboe (1984) Central City, New York, etc. singing a variety for Early Music, Waverly Consort. Recent Studies at Immaculate Heart College, Los of roles from a repertoire of over one hundred album of Solo T rombone music has received Angeles, California. Studied with Norman operas. Also is active as a stage director for critical acclaim. Faculty of Hartt School of Benno. Held faculty positions at Pepperdine several companies including the National Music, State University of New York at Stony College, Claremont College, University of Opera Company of Raleigh. Sang and directed Brook. California (1969-1978). Principal oboe: Pas- at the Brevard Music Center. For three years Charles Bressler, Voice (1978) adena Symphony; Beverly Hills Symphony, was head of the Apprentice Singers’ Program Igor Stravinsky; Ojai Festival Orchestras, Pie- Graduate, Juilliard School of Music; Appear- at the Colorado Opera Festival. Recently rre Boulez, Ingolf Dahl, Michael Tilson Tho- ances in opera, recital oratorio with orches- directed operas in Toledo, Dayton, and mas. Principal Oboe; 20th century Fox; Uni- tra; and chamber music in Eastern and West- Charleston and was the Festival stage direc- versal Studios, Warner Brothers, Columbia ern Europe, the Far East, North and South tor at the 1978 Opera Festival at Duke Studios, RCA— Scores & Conductors: Cleo- America. Original tenor with New York Pro University. patra— Alex North; Dr. Zhivago— Maurice Musica. Appearances at such international Jarre; Towering Inferno, Earthquake, Jaws I & Frederick Bergstone, French Horn; Clar- festivals as Prague, Dubrovnik, Lucerne, Ver-

1 1, The Cowboys, I Close Superman , Encounters- ion Wind Quintet (1965) sailles, Bordeaux, and Helsinki, Numerous John Williams. Planet of the Apes, The Wal- grad- recordings. Best Male Singer award in Paris B.M., University of Southern California; tons TV Series— Jerry Goldsmith & Arthur Juilliard Student Theatre des Nations Festival for the role of uate studies at The School. Morton. Recordings with Barbra Streisand, of Fred Fox, James Chambers. Daniel in “The Play of Daniel." Opera in San George Hyde, The Carpenters, Diana Ross, Olivia Newton Francisco, Santa Fe, and Washington. Appear- Principal hornist, Kansas City Philharmonic. John, John Denver. Recordings, Schwann City Opera Orches- ances with all major symphonies under Bern- Performer with New York Catalogue— Columbia Chamber Orchestra, tra, York Music stein, Reiner, Krips, Steinberg, Leinsdorf, Musica Aeterna, New Chamber Igor Stravinsky. Soloist with Los Angeles Society, Brass Arts Ouintet, Carmel Bach Munch, Maazel, Abravanel and Wallenstein. Chamber Orchestra— Neville Marriner, The Festival, Cabrillo Music Festival, San Luis Faculty Mannes College of Music and Man- Roger Wagner Chorale Russian Tour (1974), Obispo Mozart Festival, York Philhar- hattan School of Music. New California Chamber Symphony—Aaron Cop- monic, Pittsburgh at Symphony. Taught Con- Philip Dunigan, Flute (1965), Clarion land. Performances with Jean Pierre Rampal. servatory of Music, University of Missouri at Wind Quintet Special Award 1978. National Association of City; University and Col- Kansas Duke Salem Arts of Juilliard & Sciences— Most Valuable Player the lege. Hornist with the Clarion Quintet Studies at The School: Student of Wind Year, Double Reed. and Piedmont Chamber Orchestra. Arthur Lora, Julius Baker, William Kincaid and Harold Bennett. Member of orchestras of Richard Fiske, Basic Musicianship (1983) Ronald Borror, Trombone (1978) Royal Ballet, Inbal Dance Theatre, York New B.M.E., (Pi Kappa Lambda) and B.M. in Horn, M.M., M.M.A., D.M.A., Yale University. Stu- City Ballet, York City American New Opera, Oberlin Conservatory; M.M. in Horn, Manhat- dent of John Swallow. Additional teachers: Opera, Concert Opera Association, Toten- tan School of Music, D.M. (with distinction) in Keith Betty Glover, berg Brown, and Lewis Van Chamber Ensemble. Contemporary Cham- instrumental conducting, Indiana University Haney. Past winner of Henry J. Cabot Prize ber Ensemble. on the Air. Taught Symphony (1983). Studies in solfege with Louis Martin, and Mary M. Fowler Award at Tanglewood. at Cape Cod Conservatory, Riverdale School Renee Longy (NYC), Annette Dieudonne, Former member of U S. Army band. Colum- of Music College, and Queens New York. Flu- Nadia Boulanger (Fontainebleau and Paris). bus, New Haven, and Wichita Symphony tist with Clarion Wind Quintet and Piedmont Mahler scholar, associate professor of Music Orchestras. Current of York member New Chamber Orchestra. and Conductor Virginia State College strings City Ballet Orchestra, American Composers, and orchestra; associate instructor in Theory, Musica Aeterna, and N.Y. Pops Orchestras, Indiana University; guest conductor, Tasman- Parnassus, N.Y. Cornet and Sackbut En- ian Symphony, Australian Broadcasting Com- semble, and Opera Orchestra of New York. mission; recordings and concerts: conduc- Performs regularly with the Chamber Music tor/music director Salisbury Symphony Orches- Society of Lincoln Center, Mostly Mozart Fes- tra (1984). tival, and 92nd Street Y Chamber Orchestras,

68 )

Walter Gray, Style and Literature (1979) William J. Huesman, Plano Technician Eric Larsen, Piano (1979) B.S. Duquesne University; M.M., University of (1981) B.M. with Distinction, University of Wiscon- Wisconsin; Ph.D., University of Wisconsin. Keyboard Craftsman Diploma, New England sin; M.M. and Doctoral study at Manhattan studies with Pierre Received Fulbright Scholarship 1972. Former School of String Keyboard Technology; Staff School of Music. Piano Zaslavsky, faculty member Fleming College, Florence, Technician for the Stevens Center; Owner, Sancan (Paris Conservatory), Dora Italy. Former faculty member University of Salem Keyboard Craftsman — Piano Carroll Chilton and Jack Radunsky. Chamber Wisconsin. Recipient of University of Wis- Rebuilders. Music studies with Artur Balsam in New York. consin’s Chancellor’s Prize for Distinguished Frequent solo performances throughout the Teaching. Publications in Music Review and James Massie Johnson, Percussion ( 1 965 United States, Europe and Scandinavia. Radio Music Quarterly. B.M., Cincinnati Conservatory; M.M. (Musi- broadcasts in New York City and Chicago. cology), Manhattan School of Music. Edited Recorded for Hessischer Rundfunk (Frank- Marian Hahn, Piano (1980) Solo Lute Music of John Dowland. Principal furt). Collaborator with many distinguished A. B. (Phi Beta Kappa), Oberlin College, M.M., Timpanist, St. Louis and Birmingham Sym- artists. Recipient of Mellon Foundation-NCSA Juilliard School. Studies with John Perry, phonies. Columbia Records. Head of Percus- Major Faculty Development Grant (1984). Ilona Kabos, Leon Fleisher. Prizewinner, Con- sion and Music History Departments, Brevard Former faculty, Manhattan School of Music cert Artists Guild Auditions, North Carolina Music Center. First Distinguished Alumni Preparatory Division. Symphony Young Artist Competition. Busoni Award, Brevard Music Center (1969). Out- Robert Listokin, Clarinet (1965) Clarion International Competition. Finalist, 1976 Leven- standing Educatorsof America Award (1971). tritt Competition. Concertized extensively Wind Ouintet across U.S. Soloist with Cleveland Orchestra Norman Johnson, Opera (1968) Studies at Juilliard with Daniel Bonade. Grad- and North Carolina Symphony. Recital tours B.S., M.S., The Juilliard School. Founder and uated 1956 with first prize. Clarinetist with of Europe 1983, 1984. Participant Marlboro General Director, Piedmont Opera Theatre. Symphony of the Air, Columbia, RCA and and Grand Teton Music Festivals. Artistic Director and conductor, Denver Lyric other recording orchestras. Chamber music Opera, 1967-72. Conducting staff. Central with Aeolian Chamber Players, New York Fes- James Houlik, Saxophone (1971 ), Direc- City Opera Festival, 1962-70. Associate Con- tival Winds, New York Chamber Soloists, tor of Special Programs (1977) ductor, Oratorio Society of New York, 1955- Clarion Wind Quintet. Toured exclusively in B. S., New York State University at Fredonia; 64. Coach, Metropolitan Opera National Com- U.S. and South America as soloist with the M.S., University of Illinois. Additional study, pany, 1965. Faculty, Peabody Conservatory Claremont String Quartet, Razoumovsky Quar- Eastman School of Music. Student of Sigurd of Music, 1964-68. Visiting faculty. University tet, and the Piedmont Chamber Orchestra. Rascher, recitalist, soloist with orchestra and of Colorado, 1970. Music Director, Manhat- Chamber music recordings on Everest, wind groups, saxophone clinician. Frequent tanville Summer Opera Workshop, 1979-80. Columbia, CRI, Golden Crest, and a solo performances throughout the United States, Music Director and Conductor, North Caro- recording on Golden Crest Records. Europe and Japan. Recital recording on Gold- lina Summer Festival, 1973. Guest conductor, Robert Marsh, Violoncello (1977) en Crest Records. Former international Co- Cincinnati Opera, 1974; Charlotte Symphony, A.B. (magnacum laude. Regents Honor Award) ordinator of the World Saxophone Congress. 1976; Augusta Opera, 1977-79; Artists Inter- Hartt of Music. Principal Editor of saxophone music and author of nationale. Providence, 1979. Conductor, Win- and M.M. College numerous published articles. Music reviewer ston-Salem Symphony Chorale, 1975-80. cello, Atlanta, Cincinnati, Dallas, Oklahoma City Symphony Orchestras. Assistant princi- for Woodwind World Magazine. Musicfaculty, Listed, Who’s Who in America. Ball State University, East Carolina Univer- pal cello. New Orleans Philharmonic, Hart- sity, Catholic University. ford (Conn.), Seattle Symphony Orchestras. Teacher of cello at Southern Methodist, Okla- homa City and Mercer Universities. Raymond Mase, Trumpet (1977) David Mills, Tuba (1984) of Music Clubs. Faculty, Interlochen Music Camp, Ohio State University and Manhattan- B.M. New England Conservatory of Music. B.M., University of Miami. Graduate studies. ville summer Opera Workshop. Member of the American Brass Quintet (1973). University of Miami, Manhattan Conservatory, Also member of the American Symphony, Institute Of Advanced Musical Studies, Swit- Sally Peck, Viola (1975) principal trumpet of the American Compos- zerland, Holland and Germany. Faculty, Win- Scholarship studies at University of Utah, San ers Orchestra, Jupiter Symphony, and Bethle- throp College. Principal tubist and soloist, Francisco Conservatory and Aspen Institute. Festival Orchestra, and was soloist Charlotte Symphony. Member, Carolina Brass hem Bach Protege of master violist William Primrose. with Pops, Naumberg Orchestra, Aspen Chamber Music Ensemble, Charlotte Sym- Boston Performed chamber concerttours with Griller Symphony. Founding member of phony Brass Quintet. Music Director, Char- Chamber String Quartet (1948-1950). Principal violist, Cornett and Sackbut Ensemble, lotte Wind Ensemble. Performances with the the New York Utah Symphony (1950-1975); performed most specializing in the performance of North Carolina Symphony, Greensboro a group major viola works as soloist with the sym- early on original instruments. Has per- Symphony, Piccolo Spoleto Festival Orches- music phony and was viola soloist for Vanguard with the York Philharmonic, Bos- tra (principal tuba). Delft Ginestelijk Orkest, formed New recording of Ralph Vaughan Williams “Flos Orchestra, and was principal Holland (principal tuba), the Hague Philhar- ton Symphony Campi.” Recorded ninety major orchestral 1980 Casals Festival Orches- monic, Manhattan Civic Orchestra (principal trumpet of the works and toured USA, Europe and South tra. During the 1983-1984 season he was tuba). Aspen Philharmonic Orchestra (prin- America. Artist faculty member Music Aca- heard in over 35 solo recitals nationwide with cipal tuba.) demy of the West ten seasons. Sun Valley organist Richard Morris with the popular Music Camp, Taos School of Chamber Music. Columbia Artist attraction “Toccatas and Flou- John S. Mueller, Organ and Harpsichord Co-founder and instructor Treasure Moun- rishes.” Also on faculties of Brooklyn College, (1967) tain Festival of Arts. Associate Professor of Hartt College of Music, and Aspen Music B.M., Oberlin College; M.M., University of music. University of Utah (1950-1975). Prin- Festival. Michigan; D.M.A., Boston University. Studies cipal violist Ballet West Opera and member Clifton Matthews, Piano (1968) under Arthur Poister, Robert Noehren and Utah String and Piano Quartets. Vernon de Tar. Received Fulbright Grant for Early studies at the Conservatory of Kansas Patricia Pence-Sokoloff, Harp (1968) year of study with Helmut Walcha, Germany. City with Wiktor Labunski; B.S., M.S., Juilliard Formerly taught at Flora MacDonald College, B.S. State University, Westchester, Pa. Pro- School of Music, student of Irwin Freundlich. of Music. University organist fessional Study, University of Pennsylvania; Studied also with Victor Babin at Aspen and Longy School choirmaster. Harvard University Temple University; University of Colorado; Tanglewood; with Friedrich Wuehrerat Hoch- and summer school. of organ department, Salem North Carolina University, Chapel Hill; Har- schule for Musik, Munich, under Fulbright Head College. vard University. Student of the late Carlos grant, with Guido Agosti at Academia Chigi- Salzedo; Edna Phillips, Principal harpist for ana in Siena where he was a recipient of the Matilda Nickel, Opera Lab (1974) Philadelphia Orchestra; Alice Chalifoux, prin- Casella Prize. Concerts throughout Europe B.M., M.M., American Conservatory, Chicago. cipal harpist for Cleveland Orchestra and and United States. Music faculty, Skidmore Fulbright Fellowship for study in Germany. head of Salzedo School. Instructor in harp. College, University of North Carolina at Chapel Debut, Wig more Hall, London. Tours of Europe University of North Carolina at Chapel Hill Hill. Annual summer masterclassattheTibor and North America. Leading roles with opera and Salem College and National Music Camp, Varga Festival in Sion, Switzerland, since companies in Seattle, Honolulu, San Diego, Interlochen, Michigan, Principal harpist, Win- 1974. Denver, Chicago, Baltimore, Washington, Win- ston-Salem Symphony. Harp Instructor for ston-Salem. Created leading soprano role in Salem Summer School, Asolo, Italy. Dominick Argento’s “Colonel Jonathan the Peter James Perret, Coordinator of Or- Saint." Soloist, Music in Our Time series. Composers’ Forums, New York City and Com- chestral Activities and Conducting posers' Conference, Bennington. Awards from (1983) Sullivan Foundation National Federation and Premiers Prix in Oboe, Chamber Music, Dip- lomes Superieures in Chamber Music, Con-

70 )

ducting, Conservatoire Royal de Bruxelles; Elaine Lee Richey, Violin (1974) commissioned by such arts groups as the Diplomas in Conducting, Opera Conducting Graduate of the Oberlin Conservatory and the National Endowment for the Arts, Washing- Academia Chigiana, Siena, Italy. Studies with Curtis Institute of Music. Assistant to Invan ton, D C., Meet the Composer of New York James Dixon, Rene Defossez, Sergiu Celibid- Galamian at Curtis and at the Meadowmount City, and the North Carolina Arts Council. ache. Winner of Besancon (1964), Florence School. Winnerof the Walter Naum berg Com- Outstanding Educators of America awards (AIDEM 1970) Competitions. Head of Music petition. Former Concertmaster, New Haven 1972 and 1974. Department, Swiss Broadcasting Corporation, and Charlotte Symphonies. First Violinist of Aaron Shearer, Guitar (1981 1966-72. Professor, Chamber Music, Conser- the Razoumovsky Quartet. Artist in residence From Anatone, Washington, studied theory vatoire de Geneve. Exxon/Arts Endowment as teacher, soloist and with the Razoumovsky William Brandt, Washington State University Conductor, Buffalo Philharmonic Orchestra, at Snowbird for the University of Utah Summer and with Thomas Simmons, Columbia School 1976-1979. Recordings: Orchestra de la Suisse Instituteof the Arts. Faculty, Bowdoin Summer of Music, Washington, D.C. Also studied with Romande, Hessischer Rundfunk (Frankfurt), Music Festival in Brunswick, Maine. Hugh O’Megher, harpsichordist of Baltimore. RTB (Brussels), etc. Musical Director, Win- Rudkin, Theory, Jazz Solo performances and workshops through- ston-Salem Symphony. NCSA faculty (1980). Ronald (1976) B.M. Magna Cum Laude, East Carolina Uni- out the United States and has performed Lynn Peters, Double Bass (1972) versity; M.M. University of Michigan; gradu- intermittently with the National Symphony B.M.E., M.M. (Double Bass) Indiana Univer- ate teaching fellow. University of Michigan; and with the Washington Opera Society and sity. Student of Murray Grodner. Played with studied flute with Keith Bryan, clarinet with also under the direction of Robert Kraft and Colorado Philharmonic, Milwaukee Sym- John Mohler and David Wright, saxophone Igor Stravinsky. Member of Board of Direc- phony, Detroit Symphony Orchestra, and Pied- with James Houlik and Larry Teal; studied tors of Guitar Foundation of America. Inaugu- mont Chamber Orchestra. Instructor of Dou- theory pedagogy with Dr. Asher Zlotnik; played rated guitar Departments of American Uni- ble Bass at University of North Carolina, with the Nashville Symphony Orchestra, Nash- versity, Catholic University and Peabody Con- servatory of Music. of six instruction Greensboro, Currently Principal Double Bass ville Pro Musica, and New Music Group; per- Author with Winston-Salem Symphony. Solo album forms with various jazz and dance bands, and texts for classical guitar. on UBRES Records. for recordings for albums, television, and Stephen B. Shipps, Violin (1980) jingles. Mark Popkin, Bassoon (1965) Clarion B.M. with honors, M.M. Performer’s Certifi- Wind Quintet Sherwood Shaffer, Composition, Form cate, Qutstanding Graduating Senior in Music, Indiana University. Student of Josef Gingold A.B. Brooklyn College, M.S. Stevens Institute & Analysis (1965) in violin, Keith Brown in Conducting, William of Technology. Student of Manuel Zegler and B.M, Curtis Institute of Music; M.M. Manhat- Primrose, Janos Starker and Menahem Pres- Simon Kovar. Played with the Houston Sym- tan School of Music, Composition student of sler in chamber music. Violin work with Ivan phony, the New Jersey Symphony (princi- Bohuslav Martinu and Vittorio Giannini, music- Galamian and Franco Gulli. Soloist with Dal- pal), New York City Center Opera (principal), ology studies with Joseph Braunstein. Taught las, Indianapolis and Qmaha Symphonies the New York Philharmonic, and currently at Manhattan School of Music. Composer, with conductors Arthur Fiedler, Louis Lane, with the Y Chamber Orchestra, the Mostly conductor. Major performance credits through- Richard Hay man, Thomas Michalak and Brian Mozart Festival Orchestra and the Chamber out North America (including Lincoln Cen- Priestman. At twenty, named to first violins, Society of Lincoln Center. Recordings with ter), South America, Europe (including the Cleveland Qrchestra; at twenty-two associate the Columbia and RCA Victor recordings International Music Festival at Aalborg, Den- concertmaster, Dallas Symphony; and at twen- orchestras. Golden Crest Records, and Educo mark), and Japan. His Quintet No. 2, written ty-four concertmaster of Casals Festival; 1979 Records. Formerly visiting instructor at Oueens for the Clarion Woodwind Quintet, was chosen guest concertmaster, Seattle Symphony. Con- College of the City University of New York for PBS and Voice of America broadcasts in ductor, Music Academy of West Michigan and Duke University. Publications by The celebration of the Bicentennial 1976 and his University, Festival of a Thousand Qaks, Instrumentalist Co., The Music Teachers Na- opera "Winter’s Tale” was nominated by the Omaha Symphony. Nebraska Sinfonia; also tional Association and the Theodore Presser Charlotte Opera Association for Opera Amer- for pops personalities Billy Taylor, Anna Maria Co., Founder and director of the Glickman- ica’s first Composers’ Showcase 1981. A Alberghetti, Doc Severinson. Popkin Bassoon Camp. number of his compositions have been funded/ Virtuoso flutist Ransom Wilson teaches a master class

72 Guest Artists Development Seminar; Herbert Hoffman, 1983-84 Highlights Throughout the academic year distin- organ; Alumni Showcase (John Spuller, The first of a series of ALUMNI guished musicians visit the campus for double bass, Steve Kirkman, percussion, SHOW- performances premiered in the performances, master classes, and infor- Stephen Pollock saxophone, Robert CASE spring of 1983. Recent North Carolina mation instruction sessions, in addition Klapp, guitar); Franco Gulli, violin; Ran- School of the Arts School of Music to discussions concerning professional som Wilson, flute (NCSA alumnus): Bruce alumni Christopher Deane, Steven Kirk- life. Of primary importance is the com- Levin, accountant, on “Financial Mat- man, Robert Klapp, Stephen Pollock, munication between students and pro- ters”; Marvin Lamb, composer. and John Spuller, presented a concert of fessionals of the highest rank, not only Guest conductors included Otto Werner music by North Carolina School of the about the craft of music but also the busi- Mueller, Roland Bader, Michael Haith- Arts resident composer Sherwood Shaf- ness of music. cock, and Ling Tung. fer. The performance was highlighted by During the 1983-84 season, visiting artists premieres of two works commissioned Faculty Performances included; Sandra Miller, flute; Kenneth by the performers and written expressly The faculty of the School of Music main- Frazelle, composer. Dr. James Koufman, for them. tains active concert careers presenting Division of Otolaryngology, Bowman many recitals annually on the NCSA The ONYX Contemporary Ensemble Gray School of Medicine on “Problems campus, as well as over 250 concerts opened its 1983-1984 season with a multi- of the Professional Voice User”: David annually across the United States, Can- media piece created and presented by Bilger, saxophone; Ben Kaplan, piano; ada, Europe, Israel, and South America. students of the various schools and con- David Shifrin, clarinet, and William Dop- cluded with a night of fully staged stu- pman, piano; Sharon Robinson, violon- dents’ works. The purpose of the organi- cello; Jaime Laredo, violin; Louis Gold- zation is to provide experience in the stein, piano; Gianna Rolandi, voice; performance of new music, dance, and Clifford Tretick, flute (NCSA alumnus); theater, to its members. Arden Trio (Suzanne Ornstein, violin. Clay Ruede, violoncello, Thomas Performances by the North Carolina Schmidt, piano): Jack Henningan, organ; School of the Arts orchestra included Allan Gordon, attorney, on “Musicians concerts guest conducted by Otto Werner and the Law”; Henning Christensen, Mueller, Roland Bader, and Ling Tung. builder of string instruments; Claudia The orchestra also presented the annual Bloom, violin, and Madeline Bloom, Mozart Birthday Concert with solo per- piano; Ciompi String Quartet; Stephen formances by student concerto winners. Robinson, guitar; Joan Lippincott, organ; Charles Castleman, violin; Harold Jones, flute. Career Development Seminar; Elysa LeBron, arts management. Career Develop- ment Seminar; Sarah Johnson, violin. Career Development Seminar; Elizabeth Roberts, arts management. Career

73 PIEDMONT OPERA THEATRE Norman Johnson, General Director

Piedmont Opera Theatre, a professional opera company based in Win- ston-Salem, opened in September 1978 with a production of Verdi’s RIGOLETTO. Since then Piedmont Opera Theatre’s artistic successes have attracted national attention: "Piedmont Opera Theatre has become a regional company of solid stature and imagination. Its TALES OF HOFFMANN had all the qualities

for success.” f Opera A/ewsJ “Quality was unmistakable in the DON GIO- VANNI production.” f/Wus/ca/A/ner- ica) “With LA BOHEME, Norman Johnson gave Winston-Salem good reason to support his plan to expand Piedmont Opera’s season.” (Opera News) Piedmont Opera Theatre has been a pioneer in cooperative ven- tures with other opera producers in the Southeast, sharing productions with companies in Augusta (Ga.), Chattanooga (Tenn.), Mobile (Ala.), Charlotte (N.C.), and Louisville (Ken- tucky Opera).

Piedmont Opera Theatre is a member of Opera America, a charter member of the Southern Opera Conference, and funded member of the Winston- Salem Arts Council. NCSA personnel are involved in numerous ways in Piedmont Opera Theatre’s productions.

Piedmont Opera Theatre presentation of “La Boheme," 1983

74 T ^

Board of Directors

Officers: President H. Bartow Farr, Jr. Vice President Lynne Hart

Second Vice President . . Dyeann Jordan

Secretary . . Kathryn Homan Treasurer .. Taylor Shipley

Assistant T reasurer . . . Charles L. Bagby

Charles L. Bagby Janet Banzhof Giancarla Berti Marian Sears Blunk Timothy Cahill Caroline Ebeid Carmen Elijah H. Bartow Farr, Jr. Jane Fox Robert Gant Maggie Guerard Lynne Hart Kathryn Homan Kay Johnson Dyeann Jordan Linda Juchatz David C. Kenzel Richard D. Levy Karin B. Littlejohn Jayne Litzenburg Jean Loftis John May Robert McCuiston Bonnie Mellette Janet Mothershed Virginia Newell V\/illiam D. Noah, Jr. David C. Pishko Ruth Pleasants Patricia Rovere Taylor Shipley Anne Skinner Martin Sokoloff Michael Tierney Diana Wilson Edwin G. Wilson Frances W. Wilson

75 Facilities The School of Music is located in the original building of the School of the Arts and in the Workplace, which was opened in the spring of 1978. Both contain teaching studios, practice rooms, offices, rehearsal rooms, and classrooms, and piano laboratories for classroom instruction. In the fall of 1981 the School of Music occupied new teaching studios in part of the newly reconstructed Gray Building.

Crawford Hall, a modern air-conditioned concert auditorium, houses the Sarah Graham Kenan organ which was designed specifically for Crawford Hall by Charles Fisk, a Dowd harpsichord which was presented to the School by Mr. and Mrs. R. Philip Hanes, Jr., a Hamburg Stein- way, and a Baldwin concert grand. Chamber solo recitals are presented in the more intimate Recital Hall.

The newly renovated Roger L. Stevens Center for the Performing Arts, located in downtown Winston-Salem, serves as a major performance center for the School of Music performances.

Opera productions take place in Agnes de Milie Theater, which is also the loca- tion of collaborative efforts with the Schools of Dance and Drama.

Courses of Study The School of Music awards the Bache- lor of Music Degree, the College Diploma in Music, and the High School Diploma with a concentration in Music.

76 Bachelor of Music Degree student in constructing and pursuing the Music 400 Private instruction (every term) This degree program is especially recom- course of study. and mended for those who will wish to pursue Diploma in Music (College) graduate work, and for those desiring Music 590 Studio Class (every term) 1/2 The Diploma Program is designed for not only musical preparation, but also unit per year those who wish to concentrate entirely the added perspectives and skills deve- Music 001, 002, 003 (high school) in musical studies. It includes all com- loped in a liberal arts curriculum. It ponents of the music curriculum for the includes the specific general studies Music 101, 102, 103 (college) Basic Bachelor of Music Degree, and requires courses listed under the requirements Musicianship (Upon completion) 1/2 unit no courses outside the School of Music. for each major. However, all voice majors in the School Music 104 Basic Form and Structure The program of study leading to the of Music are required to take one year and/or Bachelor of Music Degree consists of each of Italian, French, and German. Music 574 Chorus or Music 576 Cantata three phases, all of which are concurrent Students elect may or audit general stu- Singers (three terms) and/or with private lessons and extensive per- dies courses after consultation with a formance experience. representative of the Department of Ensemble as assigned (every term) 1 General Studies and with the approval of unit per year. Phase I Basic Musicianship: Develop- the Dean of Music. ment of fundamental skills in reading Pre-col lege students who complete Phase and interpreting notation. High School Diploma I may be allowed to proceed to Phase II All pre-college students follow the full of the curriculum upon recommendation Phase li Studies in style, repertoire, spe- curriculum leading to the North Carolina of the faculty and approval of the Dean of cialized skills courses, and electives: state high school diploma (see catalog Music. This phase may begin at any time after description for High School General Stu- proficiency in Phase I Basic Musician- dies) with concentration in Music as ship is established. follows:

Phase III The Final Year: A culmination of musical training and an “opening forward” to the experience of music as a profession. The individualized curriculum for each student may include: pre- professional activities, special performance projects, apprenticeship programs, courses in preparation for graduate study, career strategies for survival and success in the various branches of music, and other courses and projects. The professional expertise of the entire faculty as well as many guests, is available to the

77 Special Students The cooperative efforts with other pro- The School of Music offers private instruc- fessional schools (Dance, Drama, Design tion on instruments and voice and course and Production) result in important per- work for special students who qualify. formance experiences. Performances have included stage productions of “Kiss Admission is by permission of the instruc- Me Kate,”, “Strider,” and “Dialogues of tor and approval of the Dean. See Admis- the Carmelites,” and staged productions sion Procedure and Special Student Fees. of ballet which included An Evening of Student Performance Ballets by August Bournonville, staged Performance is the ultimate concern in by Hans Brenaa of the Royal Danish the School of Music. The program is Ballet, with music by Helster and Paulli, designed to provide the broadest possi- and ballets set to the music of Britten, ble performance opportunities for each Bach, Tchaikovsky, a work by Charles student. The Symphony Orchestra. Wind Ives and North Carolina School of the Ensemble, Chamber Chorus, Jazz En- Arts student composer Marc Hoffman. semble, Percussion Ensemble, Opera School of Music student performers are Workshop, and chamber groups in every often involved in tours of North Carolina. medium provide traditional group per- These tours, which are organized and formance experiences through regular sponsored by the School, provide rehearsals and frequent performances. challenging performance experiences in real- Student performances are presented on istic circumstances. Organ students have the weekly Performance Hour, an impor- opportunities to travel as a group to tant event in the schedule of all music France, Italy, Germany and Holland to students. In addition student solo reci- examine and play the historic organs of tals are presented during the school Europe. Master classes are given by year. Opportunities to perform as soloist some of Europe’s outstanding artists. with the School of the Arts orchestra in each of its concerts are open through Collectively, the performance outlets open regularly scheduled concerto competi- to students provide a substantial oppor- tions. tunity for growth toward professionalism.

Leonard Bernstein rehearses the NCSA OrcIlK Isaac Stern Is the guest soloist.

78 yala opening of the Stevens Center In 1983. “The Dialogues of the Carmelites"

79 )

Requirements by Major Composition Total Credits 155 Music Minimum 119 Brass ’General Studies 36 minimum Total Credits 144

Music Minimum 108 Phase 1 Credits Phase II Credits ’General Studies 36 Minimum MUS 400 Composition 9 MUS 400 Composition 18 MUS 110 Analysis and MUS 211, 212, 213 Instrumental Phase I Credits Phase II Credits Composition Techniques 3 Techniques for Composers 3 MUS 400 Major Instrument 9 MUSIC 400 Major Instrument 18 MUS 101. 102. 103 Basic Musician- MUS 590 Studio Class 3 MUS 590 Studio Class 6 ship 6 MUS 210. 310 Analysis for MUS 101. 102, 103 Basic Musician- MUS 300 (Piano) Composition Techniques 6 ship 201-205 Literature and 6 MUS (3 terms or proficiency) 3 MUS 201-205 Literature and MUS 104 Basic Form and Styles Courses 15 MUS 397 Performance Attendance 1 Styles Courses 15 Structure 3 MUS 397 Performance Attendance 2 MUS 574 Chorus MUS 300 (Piano) 397 1 MUS Performance Attendance Large and/or small ensemble or 576 Cantata Singers 3 (3 terms or proficiency) 3 MUS 574 Chorus as assigned minimum 6 ’General Studies Requirements: MUS 314 Orchestration 6 or 576 Cantata Singers Symphonic Repertoire 3 MUS 588 (2 courses per term) MUS 317 Instrumental Conducting Large and/or small ensemble for Winds minimum 3 GES 101. 102. 103 6 or 377 Choral Conducting 6 assigned as minimum 3 Music Electives 3 GES 121, 122. 123 6 MUS 301-305 Form and Analysis 5 ’General Studies Requirements: ’General Studies Requirements: MUS 397 Performance Attendance 2 2 courses per term (2 courses per term year 1) MUS 574 Chorus GES 101, 102. 103 6 GES or 576 Cantata Singers 3 211 . ’General Studies Requirements: 212. 213 (2 courses per term year 1 GES 121, 122, 123 6 Electives 6 GES 211, 212, 213 6 (2 courses per term year 2) Electives 6 Electives 12 (2 courses per term year 2) Electives 12 PHASE III

An individualized course of study designed to prepare the student for entrance into the Mus 104 is not required of composition majors profession or further study on the graduate level. Admission to this phase and the design of

each particular course of study is only by recommendation of the faculty and approval of the PHASE III Dean. An individualized course of study designed to prepare the student for entrance into the A minimum of 27 credits in Music courses and projects profession or further study on the graduate level. Admission to this phase and the design of

particular of is only of the faculty and approval of the All performance majors are required to perform publicly as soloists or as a member of a each course study by recommendation chamber ensemble frequently each year. Dean.

’General Studies Requirements: A minimum of 27 credits in Music courses and projects.

’General Studies Requirements: It is expected that all General Studies will be completed prior It is expected that all General Studies will be completed prior to admission to Phase III. For

admission III. additional information regarding requirements for the Degree see pages 107-108. to to Phase For additional information regarding requirements for the Degree see pages 107-108.

80 Guitar Harp Total Credits 138 Total Credits 144 Music minimum 102 Music Minimum 108 •General Studies: 36 minimum 'General Studies: 36 minimum

Phase I Credits Phase II Credits Phase I Credits Phase II Credits MUS 400 Major Instrument 9 MUS 400 Major Instrument 18 MUS 400 Major Instrument 9 MUS 400 Major Instrument 18 MUS 590 Studio Class 3 MUS 590 Studio Class 6 MUS 590 Studio Class 3 MUS 590 6 MUS 101, 102, 103 Basic Musician- MUS 101, 102, 103 Basic Musician- MUS 300 (Piano) 3 terms ship 6 MUS 201-205 Literature and ship 6 or proficiency) 3 MUS 104 Basic Form and Structure 3 Styles Courses 15 MUS 104 Basic Form and Structure 3 MUS 201-205 Literature and

MUS 397 Performance Attendance 1 MUS 221. 222. 223 Guitar MUS 300 (Piano) (3 terms or Style Courses 15

MUS 574 Chorus Literature 3 proficiency) 1 MUS 397 Performance Attendance 2 or 576 Cantata Singers 3 MUS 397 Performance Attendance 2 MUS 397 Performance Attendance Large and/or small ensemble Small ensemble MUS electives 3 MUS 574 Chorus 3 as assigned minimum 3 as assigned minimum 1-3 Small ensemble or 576 Cantata Singers MUS Electives 6 'General Studies Requirements as assigned minimum 2-6 'General Studies Requirements: 'Genera! Studies Requirements:

(2 courses per term) 'General Studies Requirements (2 courses per term) 6 (2 courses per term year 1)

GES 101. 102. 103 6 (2 courses per term year 1) GES. 101, 102. 103 6 GES 211. 212, 213 6 GES 121. 122. 123 6 GES 211, 212, 213 6 GES 121, 122, 123 Electives 6 Electives 6 (2 courses per term year 2)

{2 courses per term year 2) Electives 12 Electives 12

Phase III

Phase III An individual course of study designed to prepare the student for entrance into the profession An individual course of study designed to prepare the student for entrance into the profession or further study on the graduate level. Admission to this phase and the design of each orfurtherstudy on the grad ute level. Admission to this phase and the design of each particular particular course of study is only by recommendation of the faculty and approval of the Dean. course of study is only by recommendation of the faculty and approval of the Dean. A minimum of 27 credits in Music courses and projects. A minimum of 27 credits in Music courses and projects. All performance majors are required to perform publicly as soloists or as a member of a All performance majors are required to perform publicly as soloists or as a member of a chamber ensemble frequently each year. chamber ensemble frequently each year. 'General Studies Requirements: 'General Studies Requirements: It is expected that all General Studies will be completed prior to admission to Phase III.

It is expected that all General Studies will be completed prior to admission to Phase lll. For additional Information regarding requirements for the Degree see pages 107-108. For additional information regarding requirements for the Degree see pages 107-108.

81 Organ Percussion Total Credits 148 Total Credits 141 Music Minimum 112 Music Minimum 105 ’General Studies; 36 minimum 'General Studies; 36 minimum

Phase I Credits Phase II Credits Phase 1 Credits Phase II Credits MUS 400 Major Instrument 9 MUS 400 Major Instrument 18 MUS 400 Major Instrument 9 MUS 400 Major Instrument 18 MUS 590 Studio Class 3 MUS 590 Studio Class 6 MUS 590 Studio Class 3 MUS 590 Studio Class 6 MUS 101. 102. 103 Basic Musician- MUS 574 Chorus MUS 101, 102. 103 Basic Musician- MUS 201-205 Literature and ship 6 or 576 Chamber Chorus 3 ship 6 Style Courses 15 MUS 104 Basic Form and Structure 3 MUS 201-205 Literature and MUS 104 Basic Form and Structure 3 MUS 397 Performance Attendance 2

MUS 397 Performance Attendance 1 Styles Courses 15 MUS 397 Performance Attendance 1 Large and/or small ensemble MUS 574 Chorus MUS 158 Accompanying 3 MUS 574 Chorus and Percussion Ensemble or 576 Cantata Singers 3 MUS 397 Performance Attendance 2 or 576 Cantata Singers 3 as assigned minimum 6 MUS 300 (Piano) 3 MUS 377 Choral Conducting 6 Large and/or small ensemble and MUS Electives 3 'General Studies Requirements; MUS 131, 132 Organ Literature Percussion Ensemble 'General Studies Requirements; (2 courses per term) and History (required) 2 as assigned minimum 3 (2 courses per term year 1) GES. 101. 102. 103 6 plus 2 of the following four 'General Studies Requirements; (GES 211, 212, 213 6 GES 121, 122. 123 6 133.231,232.233 2 (2 courses per term) Electives 6 'General Studies Requirements; GES, 101, 102. 103 6 (2 courses per term year 2)

(2 courses per term year 1) GES 121, 122. 123 6 Electives 12 GES211. 212, 213 6

Electives 6 Phase III (2 courses per term year 2) An individual course of study designed to prepare the student for entrance into the profession Electives 12 or further study on the graduate level. Admission to this phase and the design of each

particular course of study is only by recommendation of the faculty and approval of the Dean.

Phase lil A minimum of 27 credits in Music courses and projects. An individual course of study designed to prepare the student for entrance into the profession All performance majors are required to perform publicly as soloists or as a member of a or further study on the graduate level. Admission to this phase and the design of each chamber ensemble frequently each year. particular course of study is only by recommendation of the faculty and approval of the Dean. 'General Studies Requirements; A minimum of 27 credits in Music courses and projects. It is expected that all General Studies will be completed prior to admission to Phase III. All performance majors are required to perform publicly as soloists or as a member of a For additional information regarding requirements for the Degree see pages 107-108. chamber ensemble frequently each year. 'General Studies Requirements;

It is expected that all General Studies will be completed prior to admission to Phase III.

For additional information regarding requirements for the Degree see pages 107-108.

82 )

Piano Saxophone Total Credits 143 Total Credits 138 Music Minimum 107 Music Minimum 102 'General Studies; 36 minimum 'General Studies: 36 minimum

Phase 1 Credits Phase II Credits Phase 1 Credits Phase II Credits MUS 400 Major Instrument 9 MUS 400 Major Instrument 18 MUS 400 Major Instrument 9 MUS 400 Major Instrument 18 MUS 590 Studio Class 3 MUS 590 Studio Class 6 MUS 590 Studio Class 3 MUS 590 Studio Class 6 MUS 101, 102, 103 Basic Musician- Accompanying MUS 101, 102, 103 Basic Musician- MUS 201-205 Literature and ship 6 (Music 1 58 or 258) 3 ship 6 Styles Courses 15 MUS 104 Basic Form and Structure 1 MUS 201-205 Literature and MUS 104 Basic Form and Structure 3 MUS 397 Performance Attendance 2

MUS 397 Performance Attendance Style Courses 15 MUS 397 Performance Attendance 1 Large and/or small ensemble MUS 574 Chorus 3 MUS 151, 152, 153 MUS 574 Chorus and Saxophone ensemble or 576 Cantata Singers 251, 252, Piano Literature 5 or 576 Cantata Singers 3 as assigned 3 Chamber Music as 1-3 MUS 397 Performance Attendance 2 Large and/or small ensemble Music Electives 3 assigned minimum Chamber Music as and Saxophone ensemble 'General Studies Requirements:

'General Studies Requirements: assigned minimum 2-6 as assigned minimum 3 (2 courses per term year 1

(2 courses per term) 6 Music Electives 3 'General Studies Requirements; GES 211, 212, 213 6 GES, 101. 102, 103 6 'General Studies Requirements: (2 courses per term) Electives 6

GES, 121, 122, 123 (2 courses per term year 1) GES, 101, 102, 103 6 (2 courses per term year 2) GES 211, 212, 213 6 GES, 121, 122, 123 6 Electives 12 Electives 6 Saxophone students are urged to study clarinet and/or flute as secondary instruments. (2 courses per term year 2) Electives 12

Phase III An individual course of study designed to prepare the student for entrance into the profession Phase III or further study on the graduate level. Admission to this phase and the design of each An individual course of study designed to prepare the student for entrance into the profession particular course of study is only by recommendation of the faculty and approval of the Dean. or further study on the graduate level. Admission to this phase and the design of each A minimum of 27 credits in Music courses and projects. particularcourseof study is only by recommendation of the faculty and approval of the Dean, All performance majors are required to perform publicly as soloists or as a member of a A minimum of 27 credits in Music courses and projects. chamber ensemble frequently each year. All performance majors are required to perform publicly as soloists or as a member of a 'General Studies chamber ensemble frequently each year. Requirements:

It is expected that all General Studies will be completed prior to admission to Phase 111. 'General Studies Requirements: For additional information regarding requirements for the Degree see pages 107-108. It is expected that all General Studies will be completed prior to admission to Phase 111.

For additional information regarding requirements for the Degree see pages 107-108.

83 )

Requirements by Major

Strings Woodwinds Total Credits 144 Total Credits 144 Music Minimum 108 Music Minimum 108 ’General Studies: 36 minimum ’General Studies: 36 minimum

11 Credits II Credits Phase 1 Credits Phase Phase I Credits Phase 400 Major Instrument 18 MUS 400 Major Instrument 9 MUS 400 Major Instrument 18 MUS 400 Major Instrument 9 MUS Studio Class 6 MUS 590 Studio Class 3 MUS 590 Studio Class 6 MUS 590 Studio Class 3 MUS 590 103 Basic Musician- 201-205 Literature and MUS 101. 102, 103 Basic Musician- MUS 201-205 Literature and MUS 101, 102, MUS Styles 15 ship 6 Styles Courses 15 ship 6 Courses Attendance 2 MUS 104 Basic Form and Structure 3 Large and/or small ensemble MUS 104 Basic Form and Structure 3 MUS 397 Performance Attendance 1 Large and/or small ensemble MUS 397 Performance Attendance 1 as assigned minimum 6 MUS 397 Performance MUS 574 Chorus MUS 397 Performance Attendance 2 MUS 574 Chorus as assigned minimum 6 Symphonic Repertoire or 576 Cantata Singers 3 MUS 568 Symphonic Repertoire or 576 Cantata Singers 3 MUS 588 3 Large and/or small ensemble for Strings 3 Large and/or small ensemble for Woodwinds 3 as assigned minimum 3 MUS Electives 3 as assigned minimum 3 Music Electives ’General Studies Requirements: ’Genera) Studies Requirements: ’General Studies Requirements: ’General Studies Requirements: (2 courses per term year 1 (2 courses per term) (2 courses per term year 1) (2 courses per term) 213 6 GES. 101. 102, 103 6 GES 211, 212, 213 6 GES. 101, 102, 103 6 GES 211, 212, 6 GES 121. 122. 123 6 Electives 6 GES. 121, 122, 123 6 Electives term year (2 courses per term year 2) (2 courses per 2) Electives 12 Electives 12

Phase III Phase III An individual course of study designed to prepare the student for entrance into the profession An individual course of study designed to prepare the student for entrance into the profession or further study on the graduate level. Admission to this phase and the design of each or further study on the graduate level Admission to this phase and the design of each particular course of study is only by recommendation of the faculty and approval of the Dean. particular course of study is only by recommendation of the faculty and approval of the Dean. A minimum of 27 credits in Music courses and projects. A minimum of 27 credits in Music courses and projects. All performance majors are required to perform publicly as soloists or as a member of a All performance majors are required to perform publicly as soloists or as a member of a chamber ensemble frequently each year. chamber ensemble frequently each year.

’General Studies Requirements: III. It is expected that all General Studies will be completed prior to admission to Phase It is expected that all General Studies will be completed prior to admission to Phase HI For additional information regarding requirements for the Degree see pages 107-108. For additional information regarding requirements for the Degree see pages 107-108.

84 Voice Total Credits 164 Music Minimum 123 ’General Studies: 41 minimum Foreign Language—one year each French. Italian and German

Phase 1 Credits Phase II Credits MUS 400 Voice Instruction 9 MUS 400 Major Instrument 18 MUS 590 Studio Class 3 MUS 590 Studio Class 6 MUS 574 Chorus MUS 201-205 Literature and or 576 Cantata Singers 3 Styles Courses 15

MUS 397 Performance Attendance 1 MUS 178 Keyboard for Singers MUS 101, 102, 103 Basic Musician- MUS 271, 272, 273 Acting for ship 6 Singers 3 MUS 104 Form and Structure 3 MUS 274. 275, 276, MUS 170 Diction 3 277, 278 Vocal Literature 5 MUS 171, 172, 173 Dance/Movement MUS 270, 370 Diction 4 for Singers 3 MUS 397 Performance Attendance 2 ’General Studies Requirement: MUS 574 Chorus or (2 courses per term) 576 Cantata Singers minimum 6 GES 101, 102. 103 6 MUS Electives 3

Mod Lang 1 101, 102, 103 9 ’General Studies Requirements:

(2 courses per term) GES 211, 212, 213 6 Mod Lang 2 101, 102, 103 9 ’Elective 2 Mod Lang 3 101, 102, 103 9 ’Chosen from any of the four groups as listed under basic requirements on pages 000-000.

Phase III

An individual course of study designed to prepare the student forentrance into the profession or further study on the graduate level. Admission to this phase and the design of each particular course of study is only by recommendation of the faculty and approval of the Dean

A minimum of 27 credits in Music courses and projects.

All performance majors are required to perform publicly as soloists or as a member of a chamber ensemble frequently each year.

It is expected that all General Studies will be completed prior to admission to Phase lll.

For additional information regarding requirements for the Degree see pages 107-108.

85 Course Descriptions Literature and Style Courses (1 term each course) (3 credits per term) (V: hour per week) MUS 100 Applied Music Lessons (4 hours per week) credit per term) for Matriculated Students (1 Study of the various periods of music. Lecture and demonstration available to majors of the other schools The School of Music make sessions are devoted to performance practice and a study of the instruments or voice. private instruction on history, style and aesthetics of the period. instructor, approval of the Dean and Prerequisite: permission of the Music 201 Literature and Style of the Baroque Period additional fee. Music 202 Literature and Style of the Classical Period MUS 200 Secondary Instrument (1 hour per week) Music 203 Literature and Style of the Romantic Period (Elective) (1 credit per term) Music 204 Literature and Style of the Modern Period A student may elect to study an instrument other than his or her major Music 205 Literature and Style of the Contemporary Period instrument. All non-key board majors are urged to study the piano as a Prerequisite: Music 101, 102, 103 and 104 second instrument. Violinists are encouraged to study viola. Saxo- MUS 206 Style and Literature of the (1 term) phonists are encouraged to study clarinet and/or flute. Renaissance Period (3 credits per term) Prerequisite: permission of the Dean and additional fee. (4 hours per week) Prerequisite: Music 101, 102, 103 and 104 Study of the Renaissance period of music. Lecture and demonstration

MUS 300 Secondary Instrument (V2 hour per week) sessions are devoted to performance practice and a study of the (Required) (1 credit per term) history, style and aesthetics of the period. Students majoring on certain instruments and in composition are Prerequisite: Music 101, 102, 103 and 104 required to study a instrument (usually piano) as an indispen- second Form and Analysis Courses (1 term each course) sable part of the learning in the of the major subject. process study (1 credit per term) Consult the requirements for each major. (2 hours per week) MUS 400 Private Instruction (1 hour per week) A study of the basic musical forms of the period; analysis of represen- (3 credits per term) tative works with emphasis on how to perform these in relation to the Private instruction on majorinstrument, voiceorcompositionforspe- form and stylistic features. cial students. Music 301 Form and Analysis of the Baroque Period Prerequisite: permission of the instructor, approval of the Dean and Music 302 Form and Analysis of the Classical Period special student fee. Music 303 Form and Analysis of the Romantic Period MUS 590 Studio Class (1 hour per week) Music 304 Form and Analysis of the Modern Period (1 credit per term) Music 305 Form and Analysis of the Contemporary Period Each major performance teacher maintains a weekly class for his or 101 103 and 104. Prerequisite: Music , 102, her students. Included are in-class performance and critique in addi- Corequisite: related Style and Literature Course. tion to specialized studies related the particular instrument or voice, to MUS 504 Reading Jazz Ensemble (3 terms) reed such as making for oboists. (2 hours per week) Required of all performance majors every term. (1 credit per term) MUS 397 Performance Attendance (3 terms) Study in rhythm, counting, sight reading, and interpretation of jazz (1 credit per year) style in the jazz and commercial music area. Required of all music students. Attendance at a minimum of three on campusfaculty or guest artist concerts per term, 9 per year, in addition to weekly performance hour. In addition to required attendance, students may be required to submit a written critique to his/her major teacher.

86 V

MUS 505 Jazz Ensemble (3 hours per week) MUS 574 Reading Chorus (2 hours per week)

(1 credit per term) (1 credit per term) Preparation and performance of works for large and small ensemble (3 terms) utilizing arrangements and improvisation. Reading and rehearsal of representative choral works from the Performances on an off campus. Renaissance through the Contemporary periods. Basic ensemble Prerequisite: audition/assignment. principles.

MUS 507 Reading Orchestra (3 terms) MUS 575 Opera Workshop (6 hours per week)

(1-1 2 hours per week) (1 credit per term for 3 terms) (1 credit per week) Preparation and public performanceof fully staged opera productions To initiate instrumentalists to a broad spectrum of orchestral literature in cooperation with the School of Design and Production. Workshop and to develop sight reading abilities. Each week another work from productions of opera scenes from several operas with students learn- the orchestral repertory is read with a full ensemble. The reading ing a variety of roles. orchestra also serves as the laboratory orchestra for advanced con- Prerequisite: audition/assignment. ducting students. MUS 576 Cantata Singers (4 hours per week) MUS 508 Orchestra (1 credit per term) (1 credit per term) (3-2V2 rehearsal hours per week) Preparation and performance of choral works from the Renaissance Preparation and public performance of representative works from the through the Modern period for unaccompanied chorus and chorus symphonic literature including opera and dance. Performances on with instruments. Performances on and off campus. and off campus. Voice majors are required to take a minimum of 9 credits in either MUS Prerequisite: audition/assignment. 574 or 576. Prerequisite: audition/assignment. MUS 509 Chamber Music (1 credit per term) (1 class hour per week) MUS 585 Saxophone Ensemble (1 credit per term) (3 rehearsal hours per week) (1 class hour) Study, preparation, and performance of representative works from the (3 rehearsal hours) chamber music repertoire. Preparation and public performance of a wide variety of literature for Prerequisite: audition/assignment. saxophone ensembles. Performances on and off campus. Prerequisite: audition/assignment. MUS 549 Percussion Ensemble (2 IV2 hour meetings per week) (1 credit per term) MUS 586 Wind Ensemble (1 credit per term) Preparation and public performance of a wide variety of contemporary (6 hours per week) percussion music. Performances on and off campus. Required of all Preparation and public performance of representative works for wind

percussion majors each term through Phase II. ensemble. Performances on and off campus. Prerequisite: audition/assignment. MUS 568 Orchestral Repertoire (2 hours per week) (Strings) (3 terms) MUS 587 Brass Ensemble (1 credit per term)

(1 credit per term) (4 hours per week) Study of standard orchestra repertoire including ballet and opera by Preparation and public performance of representative works for Brass instrument (violin, viola, cello, and bass) with emphasis on style and Ensemble. Performances on and off campus. technical problems. Prerequisite: audition/assignment.

3 terms required of all string majors. May be continued as an elective. Prerequisite: audition/assignment.

87 .

MUS 588 Orchestra Repertoire (3 terms) MUS 274, 275; 276, 277, (1 term each course)

for Woodwinds and Brass (2 hours per week) 278 Vocal Literature (1 credit per term) (1 credit per term) (2 hours per week) The study of the major literature of the respective instruments with an A survey of the solo song and oratorio literature from the major stylis- emphasis upon the materials most frequently utilized in the develop- tic periods with emphasis on style, interpretation, poetic content, ment of the skills and techniques of successful auditioning. performance and program building. Prerequisite: audition/assignment. MUS 274 Baroque Period MUS 170 Vocal Diction (2 class hours per week) MUS 275 Classical Period (3 terms) MUS 276 Romantic Period (1 credit per term) MUS 277 Modern Period Study of principles of diction for singers. Phonetics and sound pro- MUS 278 Contemporary Period duction as applied to singing in English and Italian. Whenever possible each term will coincide with its counterpart in the Pre- or co-requisite; Italian 101. 201-205 series of Literature and Style.

Required for all voice majors. MUS 270 Vocal Diction II (2 hours per week)

(1 credit per term) Prerequisite: MUS 101, 102, 103 and 104. (2 terms) MUS 371 Opera, Literature (2 hours per week)

Study of principles of diction for singers. Phonetics and sound pro- for Singers I (1 credit) duction as applied to singing in German. A performance laboratory dealing with major opera scores from the Pre- or co-requisite: German 101 Baroque through Mozart.

MUS 370 Vocal Diction III (2 hours per week) Prerequisite: MUS 101, 102, 103 and 104, approval of instructor. (2 terms) MUS 372 Opera Literature (2 hours per week)

(1 credit per term) for Singers II (1 credit) Study of principles of diction for singers. Phonetics and sound pro- Continuation of MUS 371. Operas of the 19th century with emphasis duction as applied to singing in French. on works by Rossini, Verdi, Berlioz, Mussorgsky and Wagner. Pre- or co-requisite: French 101. Prerequisite: MUS 101, 102, 103, 104, and 371, approval of instructor.

A survey of the solo song and oratorio literature from the major stylis- MUS 373 Opera Literature (2 hours per week)

tic periods with emphasis on style, interpretation, poetic content, for Singers III (1 credit) performance and program building. Continuation of MUS 372. Operas from Debussy to the present with

MUS 171, 172, 173 Dance/Movement for (3 terms) emphasis on works by Richard Strauss, Berg, Janacek, Stravinsky, Singers (1-1/2 hrs/wk) Britten and representative American composers.

(1 cr/term) Prerequisite:, MUS 101, 102, 103, 104, 371, 372, approval of instructor. Basic dance technique to familiarize the student with the fundamen- MUS 374 Opera Singers Lab (3 terms) tals of body movement and coordination as well as basic dance terms (3 2-hour meetings per week) and forms. Three terms required for all voice majors. (1 credit per term) Prerequisite: none Acting and stage movement techniques adapted to the requirements

MUS 271, 272, 273 Acting for (3 terms) of operatic singing. Pre-professional training in role selection and Singers (4 hours per week) preparation, audition techniques.

(1 credit per term) Prerequisite: 171-173; 271-273; permission of instructor. Basic acting technique to familiarize the student with stage movement and character development. Three terms required forall voice majors. Prerequisite; MUS 101, 102, 103, 171-173.

88 MUS 178 Keyboard for Singers (2 hr/wk) MUS 258 Advanced (2 class hours per week) (1 credit) Accompanying (3 lab hours per week)

The study of the piano with the objective of providing the singer with (1 credit per term for 3 terms) the ability to play simple vocal accompaniments. Three terms required Continuation of Music 158 on an advanced level. for all voice majors. Prerequisite: Music 158. Prerequisite: MUS 101, 102, 103 104. MUS 257 Piano Pedagogy I (1 term) MUS 151, 152, 153; 251, 252 (1 term each course) (2 hours per week)

Piano Literature (1 credit per term) (1 credit) (2 hours per week) Objectives, methods, psychology, texts, and repertoire utilized in Survey of the piano works of the major composers of each stylistic teaching private and group piano to beginners. period with detailed analysis and performance of representative Prerequisite: 9 terms of Music 400 (Piano) masterpieces. MUS 357 Piano Pedagogy II (1 term)

Music 151 Keyboard music of the Baroque traditionaiiy piayed on the (1 credit) piano with emphasis on J.S. Bach, Handei, and D. Scariatti. (2 hours per week) Music 152 The Viennese Ciassicai Sonata: Haydn, Mozart, Beethoven. Continuation of Music 257. Music 153 Nineteenth Century Romanticism: Schubert, Mendeissohn, Prerequisite: Music 257. Chopin, Liszt, Schumann, Brahms. MUS 355 Vocal Literature (1 term) Music 251 Piano Music of the First Haif of the 20th Century: Debussy, for Pianists (2 hours per week)

Ravel, Stravinsky, Bartok, Hindemith, Prokofiev, Schoenberg, Berg, (1 credit) Webern, Ives. Study, preparation and performance of literature for voice and piano

Music 252 Piano Music since World War II: Stockhausen, Berio, Boulez, from the pianist's point of view. Style concepts from early Italian forms, Carter, etc. German lieder, French art song, and contemporary repertoire. Analy-

Required for all piano majors. sis of problems in language, breathing, phrasing, and accompanying Prerequisite: Music 101, 102, 103, 104, techniques.

Whenever possible, each term will coincide with its counterpart in the Prerequisite: MUS 101, 102, 103, 201, 202, 158. 201-205 series of Literature and Style. Music 158

MUS 158 Accompanying (2 class hours per week) MUS 131 Organ Literature (2 hours per week)

(3 lab hours per week) and History I (1 term) (3 terms) (1 credit)

(1 credit per term) Study of the principles of organ design and construction. Rudiments

Class meetings and private coaching in addition to study of all periods of temperament and tuning. Examination of a variety of organs in of piano chamber works. Basic principles of instrumental accompany- North Carolina. ing are covered with emphasis on sight-reading, techniques of adapt- Prerequisite: Music 101, 102, 103. ing orchestral reductions and development of flexible performance Required of organ majors. skills.

3 terms required of all college level pianists. Prerequisite: 6 terms of MUS 400 (Piano) or permission of the instructor.

89 MUS 132 Organ Literature (2 hours per week) MUS 221, 222, 223 Guitar Literature (2 hours per week)

and History II (1 term) (3 terms)

(1 credit) (1 credit per term) History of the development of the organ. Examination and evaluation A survey of the important solo literature for the guitar from the Renais- of the work and influence of major organ builders throughout the sance through the present. history of the organ. Required for ail Guitar majors. Prerequisite: Music 131. Prerequisite: 6 terms of Music 400 (Guitar) or permission of the Required of organ majors. instructor.

Two of the following Organ Literatureand History courses are MUS 327 Guitar Pedagogy (3 terms) required of organ majors. The others may be taken as (1 hour per week) electives. (1 credit per term) This course deals with the psychological and physical aspects of MUS 133 Organ Literature (2 hours per week) teaching the guitar. and History III (1 term) Prerequisite: 6 terms of MUS 400 (guitar) or permission of instructor. (1 credit) Organ music of France to 1750. Musical forms and textures of the early French composers including Titelouze, Nivers, Boyvin, Grigny, Cou- COMPOSITION PROGRAM perin, through Clerambault. Prerequisite: Music 132. A full program in composition is offered on the college level only, MUS 231 Organ Literature (2 hours per week) leading toa B.M. in composition. Training is designed to develop skills and History IV (1 term) for the "concert classical” rather than popular field of music. The study

(1 credit) consists of: Organ Music of Italy, Spain, and England to 1750, National character- A weekly private lesson: original music for solo (instru- istics of the instrument. Major emphasis on music and forms of composing mental/vocal) and chamber music ensembles up to large choral and Gabrieli, Mayone, Frescobaldi, Rossi, Cabezon, Cabanilles, Tomkins. symphonic groups in the composer’s own chosen “classical-modern” Gibbons, Greene, and Purcell. style. Prerequisite: Music 132

MUS 232 Organ Literature (2 hours per week) Weekly Composition Techniques Classes (by levels) which develop

and History V (1 term) skills in handling various elements for traditional through contemporary styles of form, counterpoint, (1 credit) harmony, melodic and rhythmic techniques, notation practices and writing in various styles. Organ music of the Netherlands and Germany to 1750. Major emphasis on the music of Sweelinck, Kerckhoven, Scheidt, Scheidemann, A weekly Composition Seminar (for all majors) which emphasizes Tunder, Buxtehude, and J.S. Bach. additional aspects of composition plus current trends and activities Prerequisite: Music 132. locally and internationally. MUS 233 Organ Literature (2 hours per week) Master Classes and Composer Workshops with visiting composers and History VI (1 term) (usually one per term). In the past, composers who have visited (1 credit per term) include Aaron Copland, George Crumb, Pauline Oliveros, Stuart Romantic and contemporary music for the organ. Study of romantic Dempster, William Schuman, Robert Ward, and Michael Colgrass. and contemporary instrument. Major emphasis on music by Mendels- A term jury presentation of original composition work during that term sohn, Brahms, Franck, Liszt, Reger, Schoenberg, Messiaen, Durufle, before a jury of faculty for critique and evaluation, as well as expe- and Albright. rience presenting (with program notes, analytical notes, as well as verbal presentation) Prerequisite: Music 132. the composer’s own work.

90 Performance of original compositions from the program are encourged MUS 211 Instrumental Techniques for Composers I (1 hour per week) on the School of Music weekly Performance Hour, the public concerts (1 term) of the ONYX Contemporary Ensemble, as well as other local outlets (1 credit) including music for ballet, drama, and mixed media performances by Study on a string instrument (viola) with an advanced instrumentalist NCSA series. who is on a Pedagogy of Music elective under faculty supervision. Required of all composition majors The curricular offerings for composition majors include: Corequisite: MUS 314 Orchestration for Composers.

MUS 114, 115, 116 Jazz Improvisation (3 terms) MUS 212 Instrumental Techniques for Composers II (1 hour per week)

( 1 V2 to 2 hours per week) (1 term) (1 credit per term) (1 credit) Provides students with the aural, technical and theoretical skills Study on a woodwind instrument (flute) with an advanced instrumen- required for jazz improvising. In addition, students learn a minimum of talist who is on a Pedagogy of Music elective under faculty supervision. jazz repertoire. Required of all composition majors. MUS 214, 215, 216 Jazz Arranging (3 terms) Corequisite: MUS 314 Orchestration for Composers (2 hours per week) MUS 213 Instrumental Techniques for (1 hour per week) (1 credit per term) Composers III (1 term) Arranging techniques in the jazz/commercial style from rhythm sec- (1 credit) tion to full jazz band. Study includes basic instrumentation and trans- Study on a brass instrument (trumpet) with an advanced instrumental- position, chord voicings, harmonization of melody, jazz counterpoint, ist, who is on a Pedagogy of Music elective under faculty supervision. and background writing and scoring techniques for big band. Required of all composition majors. Prerequisites: MUS 1 14, 1 15, 116 with permission of the instructor, Corequisite: MUS 314 Orchestration for Composers.

MUS 110 Composition Techniques I (3 hours per week) MUS 314 Orchestration for Composers (2 hours per week) (3 terms) (3 terms) (1 credit per term) (2 credits per term) Techniques of music calligraphy; study of small piart forms, modes and Detailed study of instrumentation, orchestration, history of orchestra- other scale forms; survey of 20th century melodic, harmonic, and tion survey, acoustics as applied to the orchestral instruments. rhythmic techniques. Compositional drills in each study unit. Required of all composition majors. 3 terms required for all composition majors. Corequisites: MUS 211, 212, 213 Corequisite: Music 400 (Composition) MUS 310 Composition Techniques III (2 hours per week)

MUS 210 Composition Techniques II (2 hours per week) (3 terms) (3 terms) (1 credit per term) (1 credit per term) Contrapuntal studies (18th century and beyond), composing in fugal Detailed study of 9th, 11th, 13th chords, and through 20th century forms; study of large forms; sonata and its variants. harmonic structures with compositional exercises in each unit of 3 terms required for all composition majors. study; variation forms from ground motive through theme and varia- Corequisite: MUS 400 (Composition) tions, passacaglia and chaconne; rondo forms. Prerequisite: MUS 210 3 terms required for all composition majors. MUS 410 Composition Techniques IV (2 hours per week) Corequisite; MUS 400 (Composition) (3 terms) Prerequisite: MUS 110 (1 credit per term) Vocal and Choral composition techniques; detailed survey of basic harmonic practices of common period through late l9th century and 16th century two and three part contrapuntal studies similar to MUS 401, 402, 403 Graduate School Preparatory Studies. 3 terms required for all composition majors Corequisite: MUS 400 (Composition) Prerequisite: MUS 310

91 MUS 377 Choral Conducting (2 hours per week) MUS 104 Basic Form and Structure (1 term) (3 terms) (3 credits) (2 credits per term) A study of the principles of form and structure, thematic, tonal and Study of the basic conducting techniques pertinent to choral singing. rhythmic organization; basic genre from common practice period. Choral diction, phrasing, articulation, and blend. Laboratory conduct- Prerequisite: MUS 101, 102, 103. ing sessions with School of Music choral organizations. MUS 117, 118, 119 Composition for (1 hour per week) 3 terms required for all organ majors. Music 377 or 317 required for Non-Composition Majors (3 terms) composition majors. (1 credit per term) Prerequisite: 6 terms of Music 574 or 576 and permission of the Composition lessons for non-composition majors. Limited enrol- instructor. lment. Permission of instructor. Approval of Dean.

MUS 317 Instrumental Conducting (2 hours per week) MUS 307 Orchestration for (2 hours per week) (3 terms) Non-Composers (3 terms) (2 credits per term) (2 credits per term) Study of the basic conducting techniques pertinent to instrumental A study of orchestral instruments and their use in various styles of performance. Instrumental balance, articulation and phrasing. Labor- orchestral literature. Basic concepts of sound production, tone color, atory conducting sessions with School of Music instrumental en- range, blending and balancing. Analysis of scores, written projects sembles. and performances. Music 317 or 377 required for all composition majors. Prerequisite: 2 courses from among Music 201-205 series. Prerequisite: 2 courses from among Music 201-205 series. MUS 308 Intermediate/Advanced (3 terms) Note: All MUS 400 Composition majors are required to attend weekly Sight Singing (1 hour per week) one hour Composition Seminars as part of the MUS 400 and MUS 110, (1 credit per term) 210, 310 and 410 work. The seminar covers additional composition Intermediate/Advanced Sight Singing, Rhythm, and Ear Training techniques as well as a forum for current student works and current Skills, Rhythmic, melodic and harmonic dictation. trends in composition. Prerequisite: MUS 101, 102, 103, 104. MUS 099 Remedial Sight Singing and Ear Training (3 terms) MUS 401, 402, 403 Graduate Preparatory Studies (no credit) In Theory and Counterpoint To prepare students deficient in these skills for entry into Basic Musi- Detailed study of harmony from Baroque through the late Romantic cianship. Course covers clef identification, scales, key signatures, period vocabulary with emphasison strict 4-part writing, piano texture intervals, chords, beginning rhythm, sight singing and ear training, writing, and harmonic analysis. Study of 16th century 2 and 3 part and introductory keyboard. Three term limit after which time the stu- writing and 18th century 2 through 4 part writing. Emphasis in these dent must pass an examination to enter Basic Musicianship. Students studies is upon the skills required to pass Graduate School harmony who are placed to register for MUS 099 may be required to extend their and counterpoint placement exams. course of study beyond the normal four years. MUS 404, 405, 406 Graduate Preparatory Studies terms) MUS 001 , 002, 003 (3 in History 101, 102, 103 Basic Musicianship (2 hours per week) Detailed study of the various periods of music history with particular (2 credits per term) emphasis on Medieval and Renaissance music. All periods of music Notation and Vocabulary history will be touched upon with special attention given to the acqui- Sight Singing and Ear Training sition of necessary information in order to pass Graduate School Rhythmic Skills placement examinations in music history. Keyboard Studies MUS 398 Special Topics in Music I

Pre-college students who complete Phase I may be allowed to proceed The School of Music offers a variety of courses on topics of special to Phase II of the curriculum upon recommendation of the faculty and interest. The School makes every attempt to respond to both faculty approval of the Dean of Music. and student interest in the formulation and scheduling of such courses. Prerequisite: Permission of the instructor and approval of the Dean.

92 MUS 498 Special Topics in Music II Same as Music 398 on an advanced level. Prerequisite: permission of the instructor and approval of the Dean. MUS 408 Mock Auditions (3 terms) (1 credit per term) Recreation of orchestral auditions. Procedures in preparation for professional auditions.

MUS 458 Dance Accompanying (1 term) (1 credit) (2 hours per week) A study of rhythmic concepts, improvisation techniques and repertoire appropriate for effective dance accompaniment. Laboratory work in the School of Dance. Prerequisite: 6 terms of Music 400 (piano), permission of the instructor and approval of the Dean. MUS 497 Pedagogy and Materials (3 terms) (1 credit per term) Students will review and evaluate materials and explore teaching techniques with specialist teachers to provide a working knowledge of the instructional literature and teaching of specific individual instruments.

Prerequisite: Phases I & II. MUS 499 Independent Study Independent study in the form of performance, research, or composition under the supervision of a member of the faculty. The number of hours and credits will vary according to the nature and the scope of the courses. Prerequisite: Permission of the instructor and approval of the Dean. MUS 599 Special Performance Projects In response to faculty and student interest, the School of Music period- ically offers special courses devoted to the performance of unique or unusual repertoire or other performance projects outside the regular program. These projects are particularly applicable to Phase Three of the curriculum, although they are not confined to that part of the program. The number of hours and credits varies according to the nature and length of the project. Prerequisite: permission of the instructor and approval of the Dean.

NCSA Cantata Singers NCNB Scholarship Competition Placement, Grading, and Retention Graduation Requirements

The competition is open to residents of Placement: Each new student will be High School Diploma: The successful North Carolina who have not reached placed into the appropriate level (e.g., completion of the course of study out- the age of twenty and who are not cur- H.S. 12, College year 1) on the basis of lined on page 102. rently enrolled in a college in the state. the audition in the student’s major and Bachelor of Music Degree: The comple- Students of voice, piano, guitar, strings, placement examinations in basic musi- tion of all requirements listed under woodwinds, brass, and percussion are cianship and literature and style.

Phase I and Phase II of the curriculum eligible to participate. Two full four-year Evaluation: Forthe purpose of maintain- for each major and the successful fulfill- scholarships have been awarded for the ing records for transfer, and further study, ment of a final year curriculum and pre- 1983-1984 academic year. the traditional A through F grading sys- professional or pre-graduate study courses

Sanford Scholarship Competition tem is employed on the student’s trans- and projects planned jointly by the stu- Sanford Scholarship Competition, Jan- cript (see General Regulations descrip- dent and approprite faculty. Approval of uary 25 (open only to North Carolina tion). In general, the minimum grade for the Dean required: in addition, comple-

High School students). Four full scho- continuance in the program is B, although tion of the appropriate number of general larships to be awarded—one each in the grades alone do not determine a stu- studies credits as listed under Require- fields of Dance, Design and Production dent’s eligibility. ments by Major. or Visual Arts, Drama and Music. Retention: The primary consideration in Diploma in Music (college): Completion Audition Dates 1984-1985, for 1985-1986 determining the student’s eligiblity to of the arts program required for the academic years: continue in the program is the demon- Bachelorof Music Degree minusgeneral stration of growth toward artistic excel- studies requirements. All music auditions, with the exception lence. Interruption of study may result of voice and brass, will be held on the from the student’s inability or unwilling- following dates: ness to grow as a performance major. Friday, November 16 Taking responsibility for one’s own pro- ‘Friday, January 25 gress and fulfillment of one’s talent is (Sanford Competitions) essential to continuance in the program

Friday, March 1 and success in the profession. Students

Friday, April 12 whose progress in these areas is in question may be placed on probation for a All voice and brass auditions will be held period which may extend forone to three on the following dates: terms. Letters of invitation are sent at the Monday, November 12 conclusion of each academic year upon ‘Friday, January 25 recommendation of the faculty and ap- (Sanford Competitions) proval of the Dean. Monday, March 4

Monday, April 1

‘Refer to catalog entry Scholarships, page 122.

94 Special Programs in Music Special Programs in Music are those which are outside of the formal curriculum of the School of Music. Program offerings are designed to benefit members of thecommunity, young musiciansfrom the public schools, teachers of music on all levels, and above all, to provide musical enrichment for the School of Music students. Clinicsand workshopsare presented to benefit segments of the School of Music and to serve the needs of public school students and teachers. Some programs present guest clinicians while others focus on the School of the Arts faculty and students.

The Community Music School offers Winston-Salem and the surrounding region high quality music instruction on all band and orchestra instruments, piano, voice and guitar. Private lessons are taught by qualified specialist teachers drawn from the community and from among advanced students at the North

Carolina School of the Arts. There is no audition for acceptance to the School, and age presents no barrier.

Summer programs are designed to provide learning experiences in music for high school and college musicians in the context of specialized workshops and seminars.

Community Music School

95 International Music Program The Program includes advanced students Robert Hickok, Director between the ages of 16 and 27 from Roger Jones, Executive Director schools all overthe United States. Admis- Barbara Sgambellone, Orchestra Manager sion to the Program is by audition only.

The School of Music’s International Music For the 1 984 season, engagements were

Program, now entering its 18th year, is a booked long in advance for concerts in unique summer study and performance Italy and in Germany. experience fortalented young American Robert Hickok, Dean of the School of orchestral and chamber music per- Music, and Stephen Shipps of the North formers. Internationally respected, and Carolina School of the Arts faculty, and supported in part by subsidies from Euro- Roland Bader of Berlin, were the Pro- pean governments as well as by private gram’s conductors. Chamber music facul- and corporate American funds, the Pro- ty was comprised of various North Caro- gram begins with three weeks of prepa- lina School of the Arts faculty members ration in the United States followed by and European coaches. six weeks of intensive concert touring abroad. Inquiries and requests concerning the 1985 Summer Program should be ad- The North Carolina residency takes place dressed to Barbara Sgambellone, at Davidson College. The preparation Assistant to the Director, International period includes individual coaching and Music Program, Post Office Box 12189, study in chamber music, rehearsal and Winston-Salem, North Carolina preview performances of the concert 27117-2189. repertoire, and orientation courses in the languages and cultures of the countries visited.

The International Music Program Orchestra In con ri

96 Basilica of St. Francis In Assisi.

97 98 The Program of the Department of Gen- The School of the Arts provides a high Attention has been directed to the design eral Studies of the North Carolina School quality of general studies training to stu- of courses especially relevant to the of the Arts offers students the opportun- dents from the seventh grade through concerns of the arts-oriented student. ity to broaden their personal commit- four years of college. At the secondary The minimum academic requirements ments to the arts and, at the same time, school level students fulfill North Caro- for admission into the degree program gives them an overall perspective on lina State requirements in English, social are: (1 combined SAT scores of 800; (2) themselves as individuals and as a part studies, mathematics, science, health ) high school diploma or equivalent; and of society. The general studies offerings and physical education. A comprehen- (3) a reasonably acceptable high school are focused on those areas of the human- sive program in modern foreign lan- record. For students in the Diploma Pro- ities and the social and natural sciences guages is included in their curriculum. gram remedial and enrichment work is which best contribute to the general cul- Qualified high school students are per- available. Application forenrichment work tural and intellectual awakening of the mitted to enroll in college-level courses should be made directly to the General individual. A graduate of the North Caro- and receive elective credit. The High Studies Office. lina School of the Arts must be equipped School Division is accredited by the to assume a responsible place in society North Carolina Department of Public as well as in the performing arts; through Instruction and by the Southern Associ- offerings aimed at developing historical, ation of Colleges and Schools. The Col- aesthetic, philosophic, and spiritual values lege Division is also accredited by the and perspectives, the general studies Southern Association of Colleges and program atthe North Carolina School of Schools and awards the Bachelor of the Arts aids in the attainment of that Music Degree and the Bachelor of Fine goal. Arts degree. The student in the degree program may choose from offerings in general studies, language and literature, humanities, social sciences, mathematics, and natural sciences. Independent study, either by contract or as tutorial work, is arranged for specific interests or for special scheduling difficulties. )

William L. Tribby, Director of General Carol Aycock, Theatre History (1981 Sarah Lu Bradley, Social Sciences ( Coun- Studies (1979) B.F.A., M.A., Theatre, University of Connecti- selor) (1971) cut. history. University of Geor- A. B.. English, Western Maryland College. M.A.. Ph.D., Theatre B.A., Philosophy/Religion, Greensboro Col- Ph.D., Dramatic Art, The University of Iowa. gia. Member of University of Hartford (Conn.) lege; M.R.E., Duke University, M.Ed., Coun- for University Member of Western Maryland Collegefaculty. faculty, 1975-76 (stage director seling, University of North Carolina at Greens- for University tel- 1958-61, 1963-79 (Head of Dramatic Art de- Players; director and writer boro; Training Program in Transactional Analy- partment; coordinator of Interdisciplinary Stud- evision productions). Faculty of DeKalb Col- sis at Southeast Institute, 1976-77; Sec.,Treas., (Atlanta). Depart- ies; co-Coordinator, pilot program. Humani- lege 1966-71 (Chairman, N.C, Group Behavior Society, training in Neuro- Director of the ties and Modern Education). Instructor, The- ment of Drama and Speech; Linguistic Programming, member of Ameri- atre and General Electives, for middle and Theatre). Teaching assistant at the University can Association for Counseling and Devel- 1974-76. of high school students enrolled in the Gifted of Georgia, Faculty Agnes Scott opment, member of National Association of and Talented Program of the Maryland State College (Atlanta), 1977-78. Faculty of Geor- NLP. gia State University (Atlanta), 1979-81, Stage Department of Education, Maryland Center Gary W. Burke, Social Studies (1970) for the Arts. Critic Fellow, National Critics director and script writer. Art dealer and B.A., graduate studies. Wake Forest Univer- Institute, Eugene O’Neill Memorial Theatre gallery owner. sity; M.A., New School for Social Research. Center; actor, director, critic in educational Arthur J. Ballard, English and Social Marilyn Cardwell, English and French and community theatre and film. Studies (1968) (1974) Noel Callow Kirby-Smith, Writing and B.S., Concord College, Athens, West Virginia. B.A., Transylvania College; Woodrow Wilson Literature (1971 ); Assistant Director of Other work: Ringling School of Art, Montana Fellow, M.A., University of Michigan. Diplome General Studies, College (1976) State University. University of Missouri, Uni- d’etudes, cours de civilisation francaise a la versity of Iowa, English language Institute of B. A., English, Saint Xavier College, Chicago, Sorbonne, Paris, France. Perfectionnement: the University of Michigan, Wake Forest Uni- Illinois; M.F.A.. The University of North Carol- Universite Catholique de L’Ouest, Angers, versity, UNC-Charlotte. Listed in OUTSTAND- ina at Greensboro. France. ING EDUCATORS OF AMERICA, 1970. Cura- Jane Higgins Van Hoven, Science (1971 ); tor of Costume Collection, Mint Museum of Robert Countiss, French (1973) Assistant Director of General Studies, Art, Charlotte, NC. Consultant and restorer to B.A., Virginia Polytechnic Institute and State High School Division (1974) Reynolda House, Inc; North Carolina Museum University; M.A., Appalachian State Univer- of History and Archives; Louisville of B.A., University of North Carolina at Greens- Museum sity. Foreign Study at the Faculte des Lettres Natural History; J.B. of Art, boro, M.A.T., Vanderbilt University and George Speed Museum et des Sciences, Nice, France. Perfectionne- Louisville, Kentucky; Old State Capital Resto- Peabody College, Postgraduate study, Yale ment L’universite Catholique de I’ouest, Angers, University. Teacher, Mecklenburg County ration, Frankfurt, Kentucky: Litchfield Con- France. Perfectionnement, I'Etablissement necticut Historical Society: Old Salem, Inc., Schools. Special tutor, Pearl River, New York Libre d’EnseignementSuperieur, Paris, France, Winston-Salem, Lecturer, restorer Schools, Instructor, University of North Caro- NC. and summer, 1983. exhibition director lina at Greensboro. Staff naturalist. Natural of costume collections. Linda Davis, Physical Science, Chem- Science Center, Greensboro, North Carolina. Awards: “Gold Award,” 1977, National Retail Research technician, Bowman Gray School Merchants Association; “Award of Merit,” 1978, istry, Physics (1974) of Medicine. North Carolina Historic Preservation Society, B.S,, East Carolina University; M.Ed., Univer- 1965-66, Foreign Expert, teaching, Saudi Arabia Kathy Neace, Administrative Secretary sity of North Carolina at Greensboro. Teacher: at the invitation of the Saudi Arabian Govern- Johnston Co.; Cumberland Co.; Fayetteville (1965-68, 1970) ment and the Arabian American Oil Com- City; Winston-Saiem-Forsyth County Public Marceiia Robinson, Secretary (1982) pany; 1967, Fulbright Grant, University of Schools. Saigon, Viet Nam; 1981-82, Foreign Expert, Kathleen Byrd, Secretary (1980) request of the Government of the People’s Republic of China,

100 ) )

Peggy P. Dodson, Remedial and Testing Professional publication: articles in American sance Society of American Summer Work- (1984) Home Magazine; fiction in Young People shop, Florence. Instructor of Italian and Span- Magazine. Playwriting: Studied with John ish at University of South Carolina. Teaching B.S,, Salem College. Teacher: Winston-Salem/ Gassner in New York City. Productions of Assistant in Italian at UNC Chapel Hilt. Inter- Forsyth County Public Schools. — three different original plays at Wellesley, preter for International Music Program, sum- Charles Frohn, English (1968) Massachusetts, Morristown, New Jersey: and mer 1976, 1977. Fulbright grant on History B.M., Southeastern Louisiana College; M.A., Rochester, New York, Graduate work in Direct- and Culture, Rome, Perugia and Southern University of Missouri; graduate work at Louis- ing and stagecraft. Italy, Summer 1982. N.E.H. Fellowship to State University. Instructor at Westmar Stanford University in Comparative Litera- iana Janet L. Joyner, French (1973) College, Iowa and at Virginia Polytechnic ture, summer 1984. A. B., Converse College; M.A., University of Institute. Georgia; diplome de 2 degree, Faculte des Richard H. Miller, Philosophy (1972) Carol H. Harding, Mathematics (1981) lettres, L’universite de Grenoble; Ph.D., The A. B., Colgate University; Ph D., Columbia B.S., cum laude, Phi Beta Kappa, Wake Forest Florida State University. Assistant to the Dean, University. Acting Dean, Academic Studies. University; M.A.T., Duke University College Division (1974-75). January-August, 1979. Margaret Herke, Art History and Human- William D. King, English and Film (1971 Elaine Doerschuk Pruitt, History and ities (1979) B. A., cum laude, Randolph-Macon College; English (1975) B.A., Greensboro College, M.A., Florida State M.A.T. (English), University of Virginia; Na- B. A., cum laude, M.A., University of North University. Ph.D. candidate, Inter-Disciplinary tional Defense Fellow in American Literature, Carolina at Greensboro, N.E.H. Fellow in 18th Humanities, Florida State University. Part- University of Virginia; Old Dominion Fellow, century England, University of California- time instructor, Florida State University, 1973- Yale University; Graduate Fellow of Branford Berkeley, Summer, 1976. Fellow, Ethnomusi- University. Teacher, American 75; part-time instructor, UNC-Greensboro, College, Yale cology. University of California-Berkeley, 1978-79. Leave of Absence, 1984-85. Studies, E. C. Glass High School (Lynchburg, 1979-80; N.E.H. Fellow, American South, Uni- Va.,). Director of Freshman English, Central versity of North Carolina-Chapel Hill, Sum- ( Direc- Cranford Johnson, Social Sciences Virginia Community College, Lynchburg, Vir- mer, 1983. tor of Counseling) (1970) ginia. U.S. Office of Education Exchange Wiliiam A. Pruitt, History (1973) B.A., History/Political Science, Birmingham- Teacher, Stevenage College of Further Edu- Southern College; B.D., Emory University. cation (English Language and Literature), B.A., magna cum laude, Catawba College; Campus Minister, Duke University, 1963-69; Stevenage, England, 1975-76. William Faulk- Woodrow Wilson Fellow; Virginia-Danforth Intern, Institute of Religion and Marriage and ner Conference, Oxford, Mississippi, August University Teaching Fellow; Ph.D., Modern Family Studies and Counseling, Houston, 1978. N.E.H. Fellow in History of Film, North- European History, University of Virginia. 1980. N.E.H. Fel- Texas, 1969-70; North Carolina Family Life western University, summer, Anne T. Shorter, English (1971 Council; North Carolina Group Behavior So- low in Victorian Novels, University of Califor- B.A. in English, University of North Carolina ciety; American Association of Sex Educators nia (Berkeley), summer, 1984. at Greensboro; M.A. in English, Duke Univer- and Counselors; Instructor in Social Sciences. Nancy Goldsmith Leiphart, Italian (1975) sity; further study in English and American Patricia D. Johnston, English (1969) Humanities (1982) literature. Duke University. A.B., Wellesley College; M.A., English and B.A. cum laude Boston University; M.A., Brown Eleonore von Nicolai, German (1973) Dramatic Arts, Columbia University. Teach- University; Ph.D., University of North Caro- Professional stage actress with 23 years of ing assistant, Purdue University. Worked as a lina at Chapel Hill in Italian Literature and continuous service; born and educated in free-lance writer, research assistant, techni- Middlebury Col- Renaissance Studies. Attended Germany. cal writer and proposal writer. Proposals dis- lege. the Italian School. Foreign study at the tributed as models by O.E.O. Television act- Florida State University Study Center in Flor- ing experience: Mistress of Ceremonies, “Jig- ence, Italy; and as a Fellow of the Renais- saw Time" (half-hour weekly show), WSJS-TV.

101 High School Course Requirements Total Credits Required for High School Classes of 1987 and after The students must comply with the regu- Graduation 4 units English 2 units Social Studies lations of the State of North Carolina for Classes of 1985 and 1986 (1 U.S. History) the high school diploma. Electives beyond 4 units English (1 Economics/Government) 2 units Social Studies the basic academic requirements for (1 U.S. History) 2 units Mathematics graduation may be selected from availa- 2 units Science ble high school and college courses. 2 units Mathematics (1 Biology) 2 units Science NCSA is a full participant in the newly- (1 Physical Science) (1 Biology) established North Carolina Scholars Pro- 1 unit Health and Physical Education gram. For 1 unit Health and Physical Education additional information, con- 9 units Electives 7 units Electives tact the of Department General Studies, 20 units Totals* 18 units Totals* High School Division. Competency Testing *Totals are to be accumulated in grades 9-12. Students must also have a passing score on the North Carolina Competency Tests in order to receive a high school diploma from the North Carolina School of the Arts. These tests, which are required by North Carolina State law, are given during the spring and fall of each year. Test- ing begins in the junior year so that each student has four opportunities to pass the tests before the scheduled graduation date. Class Attendance

Regular, prompt class attendance is re- garded as a responsibility as well as a

privilege. Each high school student is provided with a copy of the General Stu-

dies attendance policy and is responsible for knowing and abiding by the regulations.

102

Course Descriptions The Mathematics-Science Program The mathematics-science program in the secondary school is designed English Program to introduce the student to the fundamental principles and basic tech- Development of reading and writing skills, enjoyment and apprecia- niques of mathematics and science. Special attention is given to the tion of literature, and development of taste and critical judgment are specific interests and needs of individual students. the general objectives that guide the design of the program. Seventh Grade Mathematics— Eighth Grade Mathematics Seventh Grade English— Eighth Grade English A two-year program of the basic principles and techniques of mathe- This is a two-year program with emphasis on development of grammar matics. A pre-algebra course with emphasis upon problem solving and knowledge and writing skills. Plays of appropriate levels are studied as upon the discovery of mathematical patterns. well as short storiesand narrative poetry with uncomplicated rhythms General Mathematics and imagery. Basic principles and techniques of mathematics. Emphasis is placed

English I: Grammar and Literary Forms I upon the more practical aspects of mathematics, particularly consu- In the first year of high school, concentration is on grammar and mer topics and problem solving. composition. basic vocabulary of literary analysis is introduced; A Introductory Aigebra, Parts I and II readings include short fiction, novels, drama, and poetry. Vocabulary A two-year course designed to help the student understand the basic study, speechwriting, and elementary research skills are also taught. structure of Algebra and to acquire facility in applying algebraic con-

English II: Grammar and Literary Forms II cepts and skills. Each Part carries one unit of credit.

Continued study of grammar and composition; additional focus on Part I; Order of operations, the real numbers, equations and inequali- letter writing, resume writing, the research paper, vocabulary; reading ties, applications and the arithmetic of polynomials. of selected novels and plays. Part II; Equations in two variables, factoring, fractions, rational and

English III: American Literature irrational numbers, radicals and the quadratic equation. This course reviews mechanics, and vocabulary grammar, as a basis Mathematics I: Algebra I for practice in expository writing. It also introduces students to critical An introductory course which should help the student understand analysis of the literary genres of the essay, fiction, poetry, and drama, some of the basic structure of algebra, to acquire facility in applying with focus on American authors. algebraic concepts and skills, and to appreciate the role of deductive

English III: Honors American Literature reasoning in algebra and the need for precision in the language. A study of great American authors of the nineteenth and twentieth This accelerated, one-year course covers the topics listed above for centuries, their cultural and historical contexts, and their views of Introductory Algebra, Parts I and II. human experience. Mathematics li: Algebra II English IV: Language, Literature, and Fiim A continuation of the work begun in Algebra I, reinforcing and extend- A study of masterpieces of American, British, and European literature, ing the student’s awareness of principles and mastery of techniques. with emphasis on the artist in literature, the transference of literature Mathematics III: Geometry to film, the development of elements of style and critical analysis in Euclidean plane and solid geometry with an introduction to non- composition. Euclidean geometry. Emphasis is upon inductive thinking, discovery, English V: Advanced Composition and Reading and deductive reasoning; appreciation of the postulational nature of In this seminar-style course, advanced studentsdiscuss readingsfrom mathematics and the development of logical thought. American and British writers. A wide variety of writing experiences, Mathematics IV: Introductory Analysis close readings of poetry and prose passages, and objective testing An advanced course, for the student who has well-developed mathema- sessions characterize the weekly procedures. Students can qualify for tical skills. college credit in many colleges upon satisfactory completion of the Seventh Grade Science— Eighth Grade Science Advanced Placement Examination in English in May. A two-year program covering basic principles and techniques of science.

104 Science IP French Ml A general introduction to physics and chemistry on a level less A study in depth of the language and culture including more advanced abstract than that of the more specific science courses. Open to all grammar structures and a range of literary works presented in a con- high school students. Offered in 1984-85, and alternate years. versational atmosphere. Classes are conducted in French. French IV Science IE Study of language accompanied by analysis and interpretation of a A study of the ever-changing earth and its place in the universe. broader scope of the literature, culture and civilization. Conducted in Offered in 1985-86, and alternate years. French. (Enrollment only by permission of instructor.) Science II Through lecture, discussion and laboratory work the student is Social Studies Program instructed in the general methods of science using biology as a vehi- The social studies seeks to develop the student’s ability to cle. Emphasis in two terms is on human biology; third term focuses on program solving the man and his environment. use past experiences of various civilizations as a guide to problems of the present and future. It also strives to develop a stu- Science MIC dent’s appreciation for history as an enjoyable and fascinating founda- Through lecture, discussion and laboratory work the student is tion for any cultural enrichment. instructed in the general methods of science using chemistry as a Seventh Grade Social Studies— Eighth Grade Sociai Studies vehicle. Particular emphasis is given to problem discovery. Both The two-year program includes a study of U.S. and North Carolina Science III courses are higher level science courses which require history before politics; world geography; cur- basic mathematical skills and the prior completion of one science 1900; government and course and a year of Algebra. rent events and contemporary problems. Science IMP Social Studies: Patterns of Culture Primarily for 9th and 10th grade students. A look at representative An introduction to the concepts and methods involved in the study of cultures of the world, focusing on geography, climate, population matter and energy. Basic mathematical skills are necessary. Offered in distribution, social structure, kinship, language, technology, econom- 1984-85 and alternate years. Both Science III courses are higher level ics, religion, philosophy, and the arts as integral elements of culture; science courses which require basic mathematical skills and the prior attention to continuity and to cross-cultural comparisons. Satisfactory completion of one science course and a year of Algebra. completion of this course meets the Economic/Government Social Studies requirement. Foreign Language Program Social Studies: Modern European History Afour-year program of French is offered. The college French, German An advanced social studies course, geared to the needs of high school and Italian courses are open to high school students with a good juniors and seniors. Emphasis on cultural movements in Europe from background in language skills. Theentire foreign language program is the 17th century to the 20th century, and on developing and under- directed toward achieving practical use of the language with emphasis standing of European culture and contribution to the arts. Satisfactory on current speech patterns and writing style. Work in the language completion of this course meets the Economic/Government Sociai laboratory is an integral part of each foreign language course. Studies requirement. French I Social Studies: American Studies Introduction to the basic sounds and speech patterns of French. This course is designed to meet the high school graduation require- Emphasis is on total control of material learned, including the speak- ment in United States History. Significant factors from the age of ing, writing, reading and aural-oral comprehension of the language in exploration to the age of world power are examined, with special a culture-oriented atmosphere. emphasis on the uniqueness of American institutions and their impor- French M tance in the world today, as well as American artistic contributions. Continued study of the language and the culture including introduction of finer points of grammar, composition and conversation. Further emphasis on the four aspects of language learning introduced in

French I.

105 Health and Physical Education Program The physical education requirement forjuniorand seniorhigh school students is met in the case of dance students through their regularly scheduled arts courses. For music and visual arts students a program is offered by the Department of General Studies. Primary focus of the program is on a variety of activities, suited to the needs and interests of the students and fulfilling requirements set by the state of North Carolina.

In addition to the above, a course which fulfills the health requirement is offered for all high school students and includes an introductory study of physical, mental, emotional, and environmental health, drug and alcohol abuse prevention; family life and sex education; interpersonal skills; disease control; first aid and emergency care. The unit of physical education and health is a requirement for the high school diploma from the state of North Carolina.

106 College B. Historical and Cultural Studies ments may be issued a Diploma in their Course Requirements (GES 121, 122, 123; 124, 125, 126; area of arts specialization. The Diploma BASIC REQUIREMENTS FOR THE 221 , 222, 223; 224, 225, 226; 227, 228, indicates the amount of time spent in the BACHELOR’S DEGREE AT NCSA 229; 237, 238) School and the general level of satisfac- Qualified college students who wish to C. Modern Foreign Languages tory performance. Special requirements pursue a Bachelor’s degree while receiv- (FRE 101, 102, 103, 201, 202, 203; for the Diploma are listed in the require- ing professional arts training may enroll GER 101, 102, 103,201,202,203; ITA ments of each of the arts schools. in the college degree program. 101, 102, 103, 201, 202, 203) Satisfactory General Studies Progress D. Mathematics, Science, Social Science The major portion of the degree stu- Requirements (MAT 101, 102, 103; SCI 101, 102, dent’s work is in applied training in the Students who have completed half the 190, 210, 221, 222, 223; SOS 111, individual arts area; the remaining study general studies requirements for their 112, 115) toward the degree is classified as non- degree must maintain a 2.0 cumulative applied, and consists of the following Each Arts area, in cooperation with the average and a 2.0 term average each school-wide requirements: Department of General Studies, sets more term in general studies courses. A stu- GES 101: Critical Perspectives: Reading, specific, sometimes additional non-ap- dent who fails to achieve either a 2.0 Reasoning, Writing plied requirements appropriate to the cumulative or a 2.0 term average will be GES 102: Critical Perspectives: A Study particular field of study. See degree placed on general studies probation for of Poetry entry under each Arts area for detailed the following term. The student whose GES 103: Critical Perspectives: The information. cumulative average in general studies Artist’s Life courses falls below 2.0 for two consecu- During each term of the academic year, GES 21 1 , 212, 213: Foundations of Values tive terms will be dismissed from the the usual general studies program of the in the Humanities and the Arts degree program. college student consists of four semes- 211: Religious World Views ter hours, each course usually carrying Students who have not completed half 212: Self and Society two semester hours. The student will thegeneral studies requirements 213: Modernism and Beyond fortheir thus have earned twelve semester hours degree must maintain a 1.8 cumulative History/Analysis in the Major Arts area at the end of each year or a total of forty- average and a 1.8 term average each eight hours at the end of four years. term in general studies courses. A stu- Minimum of six courses from at least two Modern languages and some science dent who fails to achieve either a 1.8 of the following groups: courses carry three semester hours credit. cumulative or a 1.8 term average for a A. Literature, Philosophy, Creative Writ- Independent Study courses or special given term will be placed on general stu- ing seminars may vary from one semester dies probation for the following term. (LIT 210; GES 146; PH1 11 1,1 12, 113, hour to three semester hours credit de- The student whose cumulative average 224, 225, 226; advanced courses in pending upon the nature of the course. in general studies courses falls below 1 .8 French, German, Italian; GES 291 for three consecutive terms will be dis- 292, 293, 295, 297 by special permis- Students who leave the School prior to missed from the degree program. sion of the instructor) completion of the college degree require-

107 Pass-Fail Grade Designations Grading System and Quality Points CEEB Examinations Students who have completed half their Final grades on performance in class Students who enroll in general studies general studies requirements may take work are sent to students and, where programs leading to the BFA or BM one elective course on Pass-Fail basis. appropriate, to parents or guardians after present SAT scores that indicate prob- Courses with Pass-Fail designationscarry the examinations at the end of each able success in college work. the credit value indicated in the catalog. term. In addition, mid-term reports are NCSA accepts College Entrance Examina- The Pass grade is calculated in the total sent to students each term as a warning tion Board advanced placement courses number of credits. Pass-Fail designa- of less than satisfactory progress. Indi- for general studies credit when a score tions are not calculated in determining cation of student achievement is proof 3 or higher has been achieved on the the cumulative general studies average. vided by the following grades and as- official examination. signed quality points: Astudent must indicate by theend of the C.L.E.P. tests corresponding to courses A (4.0) indicates excellent work, super- Drop-Add period whether the course is in the NCSA curriculum may also be ior achievement being taken for Pass-Fail credit. This presented for evaluation for possible B (3.0) indicates very good work, work decision is final and cannot be changed. credit. that merits praise C (2.0) indicates acceptable work that shows learning and progress D (1.0) indicates work that is barely acceptable, meets minimum requirements

F (0.0) Indicates course failure; work is so poorthat minimum standards have not been met or required work has not been done; used as penalty in certain situations.

108 Course Descriptions General Studies 103:

Not all of the courses listed below are offered each year. Lists Critical Perspectives: The Artist’s Life (2 Credits) A course in basic methods of research, writing, of courses available in any given year may be obtained from and critical discussion using biographical materials in the performing, literary, and visual the General Studies office. arts. The biographical texts and topics change with some frequency, English 099: Writing Laboratory Credit) (No but the course always focuses the students’ attention on the develop- Open to high school juniors and seniors and college students, the ment of the artist’s style, sources of inspiration, philosophy of art, and writing lab supplements classroom writing instruction. Students work influence. with faculty tutors to overcome deficiencies in reading, writing, and General Studies 121, 122, 123: The Arts in Context: study skills. Cultural Roots and Continuities (2 Credits Per Term) English 291, 292, 293; Playwriting Credits Per (2 Term) An examination of major historical periods and the artistic styles T raining in writing the one-act and full-length play, and in creating film which characterize them, with particular attention to visual arts, music, and television scripts. The approach is shaped according to the needs literature, drama and ideas as integral elements of world cultures. of the individual students; hence, one term is prerequisite not to 121: Ancient and Medieval another. 122: Renaissance and Baroque English 295; Writing Seminar Fiction (2 Credits) 123: Modern Students study the basic methods of narrative and of fiction writing General Studies 124, 125, 126: and write personal narratives and short stories. Discussion of the work World Art (2 Credits Per Term) takes place in class meetings and in conferences with the instructor. A three-term historical survey of the development of painting, sculp-

Prerequisites: , completion of General Studies 101 102, 103 or permis- ture and architecture. sion of the instructor. 124: World Art: Ancient and Medieval English 297: Writing Poetry Credits) Seminar: (2 125: World Art: Renaissance and Baroque Students study a variety of of write types verse composition and 126; World Art: Modern poems of many kinds. Discussion of the work takes place in class General Studies 141, 142, 143, 144, 145, 146: meetings and in conferences with the instructor. Prerequisites: com- World Theatre (2 Credits Per Term) pletion of General Studies 101, 102, 103, or permission of instructor. A six-term study of theatres, performances, and plays. General Studies: 101: 141: World Theatre I; Greek through Renaissance Critical Perspectives: Reading, Reasoning, Writing Play analysis; Greek, Roman, Medieval, Renaissance Theatre. (2 Credits) Prerequisite: Satisfactory completion of General Studies 101, 102, or A course in reading, reasoning, and composition. Students learn to the equivalent. understand the structure of various types of prose narrative and 142: World Theatre II: Elizabethan through Romantic develop their own skills in writing short essays. Students learn to write Elizabethan, Jacobean, Commedia dell’arte. Neoclassic French, clear, correct sentences; coherent, purposeful paragraphs, valid, Baroque, Restoration, 19th-century Romantic Theatre. reasonable arguments. Skills for intelligent, perceptive discussion are Prerequisite: Satisfactory completion of General Studies 101, 102 or also emphasized. the equivalent. General Studies 102: 143: World Theatre III: Late 19th and Early 20th Century Critical Perspectives: A Study of Poetry (2 Credits) Ibsen, Chekhov, Shaw, the New Stagecraft, German Expressionism, A course in understanding, discussing, and writing about poetry. Stu- Brecht’s Epic Theatre, the Soviet Experiment. dents learn about poetry as a natural expression of humanity, con- Prerequisite: Satisfactory completion of General Studies 101, 102, or nected to the rest of life and related to the other arts. The writing the equivalent. instruction of 101 continues. 144: World Theatre IV: 1915 to 1950’s General Studies 224, 225, 226: The New American Theatre, Pirandello, The French Theatricalists, Contemporary World Issues (2 Credits Per Term) Theatre of the Absurd. An examination of contemporary issues of global, national, and indi- Prerequisite: Satisfactory completion of General Studies 101, 102, or vidual importance. the equivalent. 224: Contemporary World Issues: Global Perspectives 145: World Theatre V: 1950’s to 1980’s An examination of major contemporary world problems including The British Revival, American Theatre, Radical and Environmental population and food supply, war, the impact of technology, and the Theatre. role of modern science. Prerequisite: or Satisfactory completion of General Studies 101, 102, 225: Contemporary World Issues: The Western World in the Contem- the equivalent. porary Age

146: Topics in Dramatic Literature An examination of the major national and international problems of A series of one-term studies of individual playwrights, groups of the Western industrial nations, with emphasis on domestic political playwrights, periods. Subjects vary each term and year. issues, economic trends, and social issues. Prerequisite: Satisfactory completion of at least three terms of World 226: Contemporary World Issues: The Non-Western World in The Theatre, or permission of the instructor. Contemporary Age General Studies 211, 212, 213: Foundations of Values An examination of non-Western cultures, governments, and values in the Humanities and the Arts (2 Credits Per Term) with special attention to problems of the Third World countries. The Critical investigation and evaluation of some of the concepts and course will include a broad treatment of non-Western cultures as well values which are central to the humanities and the arts. The study is as a special focus each year on a single non-Western culture. organized by theme and subject, and includes encounters with works General Studies 227, 228, 229: and ideas that have had historical importance and are of particular European Cultural Studies (2 Credits Per Term) relevance to contemporary life. Prerequisites: General Studies 101, (Offered as needed) 102, 103 or the equivalent. 227: A study of European cultural centers during the Early Modern 211: Religious World Views period. Specific topics include Renaissance Florence, Shakespeare’s 212: Self and Society London, Amsterdam in the Dutch Golden Age, Versailles under Louis 213: Modernism and Beyond XIV, court life in the age of absolutism, and Paris in the eighteenth General Studies 221, 222, 223: century. American Cultural Studies (2 Credits Per Term) 228: A study of major cultural in nineteenth and twentieth (Offered as needed) movements century Europe, with emphasis on Romanticism, Classical Liberalism, 221: A topical survey of American culture and society from the colonial Realism, Naturalism, Impressionism, Expressionism, and Modernism. period through the civil war era, with special emphasis on literature, music, and decorative arts. 229: Special topics (a focus on one facet of European culture; a different topic is chosen each year.) 222: A topical survey of American culture from industrialization to the present time with emphasis on arts in an urbanized, industrialized General Studies 237: Film Art and Film Genre (2 Credits) world power. A course in viewing, discussing and studying selected films. Director as auteur, problems inherent in film as art, film techniques and the 223: Special topics (a focus on one facet of American culture, e.g., generic approach to film study are lecture topics. Auteurs and genres American Folklore, Religion in America; a different topic is chosen change yearly. Prerequisite: General Studies 101, 102, or permission each year). of the instructor.

110 General Studies 238: Film History (2 Credits) French 201, 202, 203: Intermediate French (3 Credits Per Term) Basic introduction to film history from its beginnings through the A continuation of French 101-102-103, including the remaining tenses

1930’s with focus on international aesthetic and technological devel- and moods. The major emphasis is on comprehension and conversa- opments. Emphasis is on the narrative fiction film. Prerequisites: tion with continued attention to grammar, vocabulary building, and General Studies 101, 102, 103 or permission of the instructor. civilization. The student completing this course should expect an active comprehension and communication foundation for travel, read- Literature 210: Topical Studies (2 Credits Per Term) ing, or study of literature orotherfields where the language of instruc- A series of one-term intensive studies of periods, persons, and special tion is French. Four class meetings a week. Prerequisites: French topics in world literature. Subjects vary each term and year. 101-102-103 or equivalent.

Mathematics 101: Intermediate Algebra (2 Credits) German 101-102-103: Elementary German (3 Credits Per Term) A one-term course, including such basic algebraic topics as the alge- An introduction to German through audiolingual techniques. The bra of polynomials, linear and quadratic equations, functions, graph- major emphasis is on conversation, with attention given to basic ing and an introduction to sequences and series. grammar, reading and writing the language. An introduction to Ger- Prerequisites: Two years of high school algebra or one year of algebra man culture. and one of geometry. German 201, 202, 203: Intermediate German (3 Credits Per Term) Mathematics 102: College Mathematics (2 Credits) A review of German reading, writing and grammar. Expansion on A one-term course, including topics that have become standard in the conversational skills. Frequent reading of classical and modern prose, field of finite mathematics (e.g., linear systems and matrices, linear poetry. Prerequisites: German 101-102-103 or equivalent. programming and the mathematics of finance and probability); particular emphasis on applications to business, economics, and the social Italian 101-102-103: Elementary Italian (3 Credits Per Term) sciences. Prerequisites: Three or four years of high school mathemat- An introduction to the Italian language. The major emphasis is on

ics, including Algebra I, II, Geometry and/or Advanced Algebra; or spoken Italian with attention to elements of pronunciation, basic satisfactory completion of Mathematics 101. grammar, and theculturefrom which the language derives. Fourclass meetings per week. Mathematics 103: Calculus (2 Credits) A one-term course, consisting of a thorough presentation of the calcu- Italian 201, 202, 203: Intermediate Italian (3 Credits Per Term) lus for functions of one variable, including the exponential and loga- Continuation of structure and vocabulary building, conversation, with rithmic functions and an introduction to multivariable calculus. Pre- additional reading and civilization materials. Four class meetings per requisites: Four years of high school mathematics, including Advanced week. Algebra/Trigonometry; or satisfactory completion of Mathematics Prerequisites: Italian 101-102-103 or equivalent.

102 . NOTE: Advanced study in French, German, and Italian is available to qualified students. For more information, contact the General Studies Modern Foreign Languages office or the individual language teacher. French 101-102-103: Elementary French (3 Credits Per Term) The first half of a graded two-year approach to comprehension and Philosophy communication in French, including the present, “passe compose,” Philosophy 111: Greek and Early Medieval Philosophy (2 Credits) future, and imperfect tenses of the indicative. The major emphasis is The course examines the birth of philosophical thought in the West, on fundamentals of speaking and comprehension, with attention to with major attention given to the metaphysics and ethics of Plato and phonetics, basic grammar, and the culture from which the language Aristotle. Offered in 1985-86, and alternate years. Prerequisite: Satis- derives. The student completing this course should expect active use factory completion of General Studies 101 or permission of instructor. of limited segments of the language. Four class meetings a week.

Ill Philosophy 112: Later Medieval and Early Modern Philosophy Science

(2 Credits) Science 101: Foundations of Physical Science (2 Credits) The course deals with the major traditions of medieval and renais- A study of science as a search for explanations of physical pheno- sance thought about God, man, and nature. The cultural and social mena; emphasis on the nature of matter and energy relationships in context of the philosophers who will be studied will also be discussed. matter. Offered as needed. Offered in 1985-86, and in alternate years. Prerequisites: Satisfactory Science 102: Light and Sound (2 Credits) completion of General Studies 101 or permission of the instructor. A study of similarities and differences in optical and acoustical phen-

omena; emphasis application of to daily life to the Philosophy 113: Modern Philosophy (2 Credits) on concepts and Representative thinkers from the Enlightenment, the nineteenth and arts. Offered as needed. twentieth centuries, including Kant, Schopenhauer, Nietzsche, and Science 190: Major Issues in Science (2 Credits) Wittgenstein, will be discussed. Offered in 1985-86 and in alternate A one-term course with flexible content, exploring each year a limited years. number of physical and biological topics/issues of current interest.

Prerequisite: Satisfactory completion of General Studies 101 or per- Science 210: Nutrition, Behavior & Culture (3 Credits) mission of instructor. A study of concepts of normal nutrition as they relate to all age groups, with specific reference to the needs of young adults and performers. Philosophy 224: Metaphysics and Mysticism (2 Credits) The cultural and behavioral aspects of nutritional patterns will be Eastern and (primarily) Western perspectives on what is ultimately real considered, using community resources when available. and how it can be known. Readings and authors studied vary, but can 223: be expected to include: Plato, Buddha, Spinoza, Descartes, Berkeley, Science 221, 222, Human Anatomy & Physiology (2 Credits Per Term) Kant, among others. Offered in 1984-85 and in alternate years. general course designed to provide a basic understanding of the Prerequisite: Satisfactory completion of General Studies 101 or per- A structure function of the Practical considerations mission of the instructor. and human body. are given to the arts interests of the individual student. Philosophy 225: Moral and Political Philosophy (2 Credits) The course focuses on the questions: What is a good life and a good society? What is right and wrong? Why be moral? The readings are derived from the chief sources of Western ethics: The Bible, Plato, Augustine, Rosseau, Kant, Mill, Hobbes. Offered in 1984-85 and in alternate years. Prerequisite: Satisfactory completion of General Studies 101 or permission of instructor.

Philosophy 226: Philosophy of Religion (2 Credits) An examination of Eastern and Western religious ideas, with a large segment of the course given over to problems concerning the nature of religious knowledge, the nature and existence of God, the problem of evil. Offered in 1984-85 and in alternate years. Prerequisite: Satisfac- tory completion of General Studies 101 or permission of instructor.

112 Social Science Social Science 111: Human Relationships: Personal Effectiveness (2 Credits) An emphasis on understanding the individual and close relationships; what personality is; how to enhance self-awareness; human development; becoming skillful in interpersonal communication, especially self-disclosure, active listening, problem-solving, dealing with conflict, and sharing feelings. Class sessions emphasize an experiential approach. Social Science 112: Human Relationships: Interpersonal Communications (2 Credits) An exploration of working together in groups, with special focus on working and performing groups. Class meetings will be experiences structured around leadership, decision-making, group goals, con- troversy and conflict, use of power, and other aspects of group process.

Social Science 115: Human Sexuality (2 Credits) The main areas this course will cover are: masculine and feminine roles, sexual behavior, sexual dysfunction, attitudes about sexuality, the erotic in the arts, and sex in society. Social Science 120: Practicum in Early Childhood Education (1 or 2 Credits per Term) An in-service training experience in which students work with pre- school children in the Creative Learning Center to build the children’s confidence and sense of identity and to stimulate mental, social and physical growth through arts-related group experience. A maximum of two credits in Social Science 120 will be applied to degree requirements.

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Student Services offers students possi- The five divisions of Student Services Residence Life bilities for growth in self-awareness by are Counseling, Health Services, Resi- The North Carolina School of the Arts providing programs/processes which help dence Life, Student Activities, and Stu- provides separate residence halls for students in developing realistic under- dent Financial Aid. high school and college students. All standings of themselves and their world. full-time students enrolled in degree or The Directors and staff in each of these To be successful artists, it is necessary non-degree programs are required to areas are professionally trained to de- to be successful persons. Thus, Student live on campus as space permits and par- velop and implement programs and pro- Services assists students in developing ticipate in the boarding plan through the cedures that are responsive to the needs/ skills in interpersonal relations, achiev- School cafeteria. Married students or desires of students and that contribute ing personal integration, assuming re- those living with family within commut- to the effectiveness of the entire School. sponsibility for the consequences of ing distance are exempted from this choices, learning ways to deal with the Patricia C. Harwood, Dean of Student housing and boarding plan. Other stu- stress of working to potential in a given Services (1978) dents may seek exemption through the field, and becoming better informed re- B.A. French and English, Longwood College; Director of Residence Life’s office by garding how to handle and prevent prob- M.A. Psychology and Counseling, Middle appeal to the Housing Review Board, Tennessee State University; Ed.D. Higher lems. Much of Student Services work is composed of the Vice Chancellors for Education Administration, College of William teaching skills that can be carried from Academic Affairs and Finance, Dean of and Mary. Formerly Director of Career Plan- the School through life and built upon; Student Services, Chairperson of the ning and Placement/Counselor and Teacher there is a great deal of individual contact Student Advisory Council, a repre- of French and English. Active in professional as well as small group contact between sentative of the general studies faculty, a associations as program presenter, commit- representative of the arts faculty, (ex- staff and students. tee member, local arrangements chairperson for National Association of Student Person- officio members are the Directors of Res- Student Services is a strongly integrative nel Administrators, Region III, 1984 Annual idence Life, Student Health, Student element in the life of the School, working Conference. Memberships in Southern Asso- Financial Aid, and Food Services). Stu- with all students, faculty and staff. The ciation of College Student Affairs, National dents should consult the student hand- individual differences and needs of stu- Association of Student Personnel Adminis- book for further information regarding dents in the various age groups and trators, American College Personnel Associa- the Housing Review Board. Schools are recognized and addressed tion Administrators, American College Per- with different programs and require- sonnel Association and subsidiary groups. Patricia Robertson, Director of Residen- ments according to the differences/ Serve as self-study evaluator of Student Ser- tial Life and Housing Administration needs. Generally, one could describe vices for the Southern Association of Col- (1984) leges and Schools. Student Services as an area of the School B.A., Religion, University of North Carolina at Chapel Hill. M.A. Ed., Counseling, Western that is concerned with the development Eula J. May, Secretary (1983) Carolina University. Ed.D., Counselor Educa- of the student as a total person. It is a tion with Student Development concentra- part of the educational experience of a tion, ABD, University of North Carolina at student at the school, a co-curricular Greensboro. Director of TRIO programs. program, going beyond the simply me- Western Carolina University. chanical matters of room assignments Susan Reddick, Secretary (1982) and handing out keys.

115 David Rettig, Assistant Director of Res- spring of each school year and are key to staff-in-residence. High School students idence Life for Facilities Management a creative, enjoyable, cohesive commun- are expected to be responsible for their and Administration (1979) ity atmosphere. own everyday lives with regard to class B.A., History, UNC-Greensboro; M.Ed., Stu- attendance, homework, keeping of social College rules, regulations and housing dent Development, UNC-Greensboro. Secre- rulesand regulations, and personal well- procedures evolve from year to year as tary of Residental Affairs, UNC-G, 1976-78. being. determined by the Dean of Student Ser-

College Life vices after open consultation with an all Special attention is given to the legal The College Life Staff of the North Caro- campus advisory committee. There is a responsibilities that the North Carolina lina School of the Arts designs programs serious attempt to guarantee students School of the Arts bears in its “in loco and offers services aimed to facilitate the due process and societal rights as adults, parentis” role with high school students positive development of the college stu- while likewise, expecting them to take on under 18 years of age. dent. Co-curricular in nature, the educa- the responsibilities of adulthood. Staff members in-residence receive in- tional, recreational, and avocational pro- Jana Lynn Fields, Area Coordinator for service training enabling them to better gramsare frequently planned in conjunc- College Life (1982) render recreational, counseling, and hous- tion with other Student Services areas, B.A., Psychology, North Carolina State Uni- ing programs. arts and academic departments, and other versity. M.Ed. (in progress) Counseling and community sources. Guidance (Student Development) UNC- Because high school students, for the Greensboro. most part, are not allowed to have cars College students are housed in a resi- on campus, and service is avail- Area Coordinator for Col- bus van dence complex, providing opportunities Lisa Waters, lege Life (1984) able especially at night and on weekends for students of the various arts areas to B.S. Physical Education, Minor-Social to transport students to shopping cen- learn from each other regarding the Science, Michigan State University; M.A., ters, parks, places to dine, and interest- rigors of other disciplines. Student Personnel Administration, Ohio State ing sites in and around the Winston- University. Resident Assistant, Michigan State. Lounge spaces in the residence com- Salem area. High School Life plexes provide three clear areas of ser- The High School Life program at the A special Host Family Program helps vice to students: North Carolina School of the Arts main- high school students away from home a reception/party/coffee house area tains uniqueness of a national scale by for the first time adjust to their new an office/TV lounge/kitchen area virtue of thefactthatthis institution con- environment. Host families live in the community laundromat/TV lounge tinues to be one of a kind: a School Winston-Salem area and act as “family where both high school and college stu- away from home” for occasional meals, The College Life Staff consists of two dents seek training toward a career in short visits, and a real family atmosphere. professional staff who reside on campus the professional performing arts on the to provide support to the student staff same campus. and residents. These area coordinators maintain rapport with students through High School students are housed on a student staff of resident assistants. The campus in two residence halls where 24- resident assistants are selected in the hour supervision is provided by an adult

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Finally, the North Carolina School of the

Arts’ High School Life Staff is committed to campus social harmony among its high school and college student popula- tions. Although there are clear areas of the campus (college residence area) in which high school students may not enter without special permission, high school and college students are residents of the same campus. Every effort is made to offer high school students as many opportunities for development as possible. The High School Life Staff pro- videsspecial housing, programming, and supervision for the junior high students on campus to meet their developmental needs.

Martha Anne Goff, Assistant Director of Residence Life, Director of High School Life, (1980) B.A. Political Science, UNC-Greensboro, Soci- ology Minor; M.Ed. Guidance and Counsel- ing, UNC-G; Ed.S. Guidance and Counseling, UNC-G; Related graduate level studies in School LawatUNC-G: Residence hall Super- visor, Area coordinator for Residence Life, UNC-G. Mark Bee, Assistant Director of High School Life (1980) B.S., Political Science, Shepherd College

Andrew W. Ingalls, Assistant Director of High School Life (1983) B.A. Psychology, Hobart College. M.Ed., in Community Counseling (in progress) UNC-G.

Kelly Snyder, Assistant Director of High School Life (1982) B.S.W., Social Work, James Madison Univer- sity. M.Ed. in Student Development (in progress) UNC-G.

117 Regulations and Student Handbook The Health Services fee pays for the ser- Cheryl Ziglar, Secretary (1983) Both the High School and College Resi- vices of the nurses and physical thera- Nancy Mesic, R.N.B.S. (1982) dence Life Programs have a system of pist, first aid supplies, non-prescription social rules and regulations established drugs, and the use of physical therapy Gayle McElroy, L.P.N. (1976) annually by the Dean of Student Ser- equipment, crutches, vaporizers, etc. A Judith Vogel, L.P.T. (1981) vices on the basis of recommendations portion of the School physician’s fee is from an all-campus advisory committee. paid by this fee, as are charges for pre- Alice McGilvary, R.N. (1980) The Handbookdetails these regulations. scription drugs, ace bandages, laboratory tests and X-rays. Arrangements for Sherrill Braswell, M.D. (1981) New students will want to know about medical or dental specialists are made regulations violations which may result John B.R. Thomas, M.D. ('7987/ through Health Services as indicated, in penalties or dismissal from school. In and expenses incurred are the responsi- high school, the regulations cover such Counseling Services bility of the student or parent. Questions matters as curfew regulations, intervisi- The primary goal of the counseling pro- on services orcharges should be directed tation, falsification of sign out, vandal- gram is to offer to students a helping/ to the Director of Health Services. ism, and other matters of health and working relationship which will be useful to in self-directed, safety. In college, there are regulations Health and accident insurance is not them becoming more pertaining to such matters as theft, phys- included in the Health Services fee. In better at problem solving, and morecon- ical abuse or conduct which threatens the event of injury and/or hospitalization structive in achieving their personal and the health and safety of another, vandal- of a student, the student or parent’s insu- professional goals. A staff of highly trained counselors is available to individuals as ism, unauthorized use of school facili- rance covering the student is the primary ties, falsification of information, posses- source of payment. Individual health and well as groups and works on the basis of confidentiality. of Counsel- sion of weapons, including explosives, accident insurance is available by con- The use the and other matters. The handbook lists tract with a private insurance company. ing Service is without cost to students, complete details and procedures regard- Parents and/or students are urged to faculty and staff. ing the Judicial System of the School. obtain insurance to prevent costly hospi- The counseling staff has competence in tal bills. Itemized statements for health such areas as problem solving and deci- Health Services reimbur- service charges, which may be sion making. Life Planning and Career In the first-floor wing of Sanford Resi- sable to the student or parent through Counseling, basic communication skills. Hall is the dence Student Health Center insurance, can be obtained by writing to Transactional Analysis, Gestalt Therapy, which includes an infirmary, laboratory, the Director of Health Services. relationship and marital counseling, and physical therapy and treatment rooms In and other Margaret Porter, N.P., Director of Stu- group counseling. these and offices for the staff. nurse and A staff offers and dent Health Services (1966) areas, this programs physician call available are on and by well individual counsel- Graduate City Memorial Hospital School of workshops as as telephone for emergencies. Emergencies Nursing. Post Graduate Children’s Hospital ing. when the School physician is not on Washington, D C. Brigham Young University. campus are sent to the local hospital Nurse Practitioner Program, UNC-G. emergency rooms.

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Cranford Johnson, Director of Counsel ing (1970) B.A., History/Political Science, Birmingham- Southern College; B.D., Emory University. Campus minister, Duke University, 1963-69; Intern, Institute of Religion and Marriage and Family Studies and Counseling, Houston, Texas, 1967-70; North Carolina Group Behav- ior Society; American Association of Sex Educators and Counselors; Instructor in Social Sciences.

Sarah Lu Bradley, Counselor (1971 B.A., Philosophy/Religion, Greensboro Col- lege; M.R.E., Duke University; M.Ed., Coun- seling, The University of North Carolina at Greensboro; training program in Transactional Analysis at Southeast Institute, 1976-77; training in Neuro-Linguistic Programming; T reasurer. North Carolina Group BehaviorSociety; memberof American Personnel and Guidance Association, Consultant for Center for Crea- tive Leadership; Instructor in Social Sciences.

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student Activities In addition to more than 350 performances each year—dance concerts, drama productionsand workshops, studentand faculty recitals, orchestra and ensemble concerts— movies, dances, parties, enter- tainers, and educational programming opportunities are scheduled on campus.

The Director of Student Activities plans, with the students and staff various residence hall. Coffeehouse, off campus and all-School events.

Recreational facilities provided include those for gymnastics, a fully equipped weight-room (bodybuilding), swimming, basketball, volleyball, softball, football, and other sports; a gameroom with bil- liard tables, airhockey, pinball and video games; and an outdoor exercise “Par” course for general physical exercise and workout.

Tickets are frequently provided for off- campus events in Winston-Salem, neighboring cities, and nearby colleges and universities; often the School provides a bus service to such events.

Douglas Roy Patterson, Director of Stu- dent Activities (1984). B.S., Union College, M.Ed., University of Vir- ginia. Memberships in Virginia Association of Student Personnel Administrators, National Association for Campus Activities, Associa- tion of College Unions-International, and National Orientation Directors Association.

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Kurt Hotelling, Assistant Director of Stu- dent Activities (1981 NCSA High School Diploma 1976; Bachelor of Music, North Carolina School of the Arts 1980; graduate work in Music Education and Psychology, Appalachian State University 1980-1981; graduate work in Music Theory, NCSA 1981-82.

Juanita Dahmer, Assistant Director of Student Activities/ Game Room Man- ager, (1970)

Student Advisory Council This organization provides a vehicle for student leadership and representation in all administrative or faculty/staff meetings where student representation is specified. It assists in assessing areas of concern among students, in communication of information among students, in planning and implementing certain activities.

The membership consists of a Chairper- son and Vice-Chairperson elected at large by the NCSA student body and representatives from all Schools, the junior high residence organization, the senior high residence organization, and graduate students.

Philip B. Rabe, Chairperson

121 Patsy M. Braxton, Director of Financial tracting the reasonable family contribu- deadline dates will be considered as time Aid and Institutional Research; Title IX tion from the expected costs. A student and funds permit. and Section 504 Officer, and Tuition- who demonstrates financial need and The financial aid program at NCSA in- Review Officer (1979) has the potential for success at NCSA cludes funds from scholarships, grants, A.B Sociology, Guilford College; M S. Gui- may apply for financial assistance to loans, and employment. Financial Aid is dance and Counseling, Old Dominion Uni- help meet the expected expenses. Fi- versity; Additional graduate studies, Appa- awarded on the basis of a student’s nancial aid at NCSA is awarded without lachian State University, East Carolina demonstrated financial need. A student regard to a student’s race, religion, color, University, University of North Carolina at who is awarded funds may receive a Greensboro. Past President of the North national origin, sex, age, or handicap. “package of aid.” This could include Carolina Association of Student Financial Aid Administrators. Consultant to Pell Grant pro- Instructions for Application for Financial some gift aid (in the form of scholarship gram, consultant to Bureau of Human and Aid or grant) or some self-help assistance (in Health Serivces. Faculty of state professional Although both high school and college the form of loan and/or employment). training. Served as moderatorand/or panelist Students should understand the terms of to state, regional and national professional level students may apply for financial meetings 1971-present. Formerly, Assistant assistance, the procedure differs for each financial aid awards before accepting Director of Student Aid at the University of level. them. North Carolina at Greensboro; Guidance Counselor, Elizabeth City Schools; Classroom Types of Aid Ail students must: Teacher, Watauga County Schools, Henry The North Carolina School of the Arts County (VA) Schools. 1. Submit the NCSA Financial Aid receives support for its Financial Aid Application. Laura H. Allen, Secretary (1973) program from federal and state govern- 2. Submit the Financial Aid Form or ments, individuals, and foundations. All Family Financial Statement to the prop- student aid funds are administered ac- er agency. cording to the provisions and regula- The North Carolina School of the Arts 3. Submit a copy of the parents’ 1983 tions of the contributing agency or donor. financial aid program is designed to income taxform 1040, 1040A,or1040EZ assist deserving students in meeting the NCSA is a participating institution in the cost of attending NCSA. College Applicants also: must following federal/state programs: Submit the Student Analysis Report 1. Pell Grant It is recognized that some students do for the federal Pell Grant Program to not have the financial resources to meet 2. Supplemental Educational Opportun- the NCSA Student Financial Aid Office theireducational costsat NCSA. Through ity Grant (Required of all college applicants.) the student financial aid program, the 3. College Work Study 4. National Direct Student Loan institution makes every effort to insure It is essential that prompt attention be that no qualified student is denied the given to these procedures. Preference 5. State Grants and Scholarships opportunity to attend NCSA because of will be given to entering students whose 6. Guaranteed Student Loan 7. lack of funds. Parents and students have applications are received by April 1. Federally Insured Student Loan an obligation to pay for their education Enrolled students should submit the re- 8 . Parent Loan for Undergraduate Stu- to the extent they are able to do so. quired forms by April 15. Students who dents Financial need is determined by sub- submit applications after the preferred 9. Minority Presence Grants

122 Insured Student Loan Program Financial Aid Determination and Award Financial Aid Refund Policy: Asa participating institution for the State Awards are made to full-time students Students on Financial Aid, who are eligi- Guaranteed Student Loan and Federally who are pursuing high school diplomas, ble for a refund upon withdrawal, will insured Student Loan programs, a depen- college degrees, or college diplomas, have their refunds applied proportion- dent student may borrow up to $2,500.00 and graduate students. ately to the program(s) from which the per year for undergraduate work. Grad- funds weredisbursed on a percentageof Financial aid awards will be prepared for uate students may apply for up to $5000 total assistance. entering students in late spring preced- per year. Repayment begins 6 months ing theirfall enrollment. Renewal awards Award Process after the borrower terminates at least will be made in mid-summer. A student who completes the NCSA half-time student status. A North Carol- Application for Financial Aid, and the ina student may seek funds from The Application Check List: required supporting documents, will be College Foundation, Inc. 1307 Glenwood A student should seek the appropriate considered for all financial assistance Avenue, Raleigh, NC 27605. Out-of-State form(s) from the Student Financial Aid for which he/she is eligible, including residents should write to the financial Office general scholarships, grants, loans, and aid office for the name of the leading High School: employment. The student may indicate agency in his/her state. on the application the types of aid for 1 . NCSA Financial Aid Application which he/she wishes consideration, and 2 . Financial Aid Form or Family Finan- Other Sources cial Statement the institution will try to meet the stu- Students are encouraged to explore other dent’s financial need with funds that are 3 . Latest tax year: Copy of IRS Form sources for assistance. A few of these 1040, 1040A, or 1040EZ available and appropriate to the individ- would be: College: ual’s circumstances. 1 . Veterans Administration

1 . NCSA Financial Aid Application 2 . Vocational Rehabilitation Renewal of Financial Aid

2 . Financial Aid Form or Family Finan- 3. N.C. Veterans Affairs Applicants must file a new financial aid cial Statement 4. Outside/local scholarships application for each year of enrollment.

3 . Pell Grant Report (Student Analysis Awards may vary from year to year as Any resource received by the student Report) [College only] family circumstances and availability of must be reported to the Student Finan- 4 . Latest tax year: Copy of IRS Form funds change. In order to be eligible for cial Aid Office and will be considered in 1040, 1040A or 1040EZ the renewal of aid, a student must have determining a financial package. 5 . Affidavit of Independence (if finan- continual need, must be in good stand- cially independent) Minority Presence Grant Program ing, and must be maintaining satisfac- 6 . Financial Aid Transcript (if a transfer Under the Board of Governors general tory progress at NCSA. A student is not student) Minority Presence Grant Program, black eligible for financial assistance if he/she

7 . Proof of Selective Service Registra- students may be eligible for special fi- owes a refund of federal grant aid or is in tion (if appropriate) nancial assistance if they are residents default on a federal loan received for of North Carolina, enrolled for at least 3 attendance at NCSA. hours of degree credit course work and demonstrate financial need.

123 Independent Students Discretionary Scholarships expenses including reasonable allow- Self-supporting applicants may apply as Discretionary scholarships are awarded ances for books and supplies, transpor- financially independent provided that to students whose audition evaluations tation, personal expenses as well as tui- during the preceding, current and fol- and other records show unusual talent, tion and required fees, rooms, and board. lowing calendar year they: ability, and art potential by the dean of Special Scholarships 1 . Have not, nor will, live with their par- each arts school upon recommendation Several special scholarships are awarded ents for more than six weeks; of each arts school faculty. Out-of-state each year to outstanding students. Infor- scholar- 2 . Have not, nor will be claimed as fed- college students who receive mation and criteria pertaining to some of eral tax exemptions by parents, and ships may also be granted tuition reduc- these scholarships would include; 3. Have not, nor will receive $750 or tions. A scholarship, and when applic- more in financial supportfrom parents. able, a tuition reduction, is normally Sanford Scholarship— Four Full Scholar- granted for one academic year. Any ships The definition of parent is the natural or scholarship stipend is contingent upon 1 . Awarded to one student per year in legally adopted parent or guardian as the student’s enrollment in the North dance, design and production or vis- stated on the need analysis information. Carolina School of the Arts for the aca- ual arts, drama, and music demic year to which the scholarship ap- Other Information 2 . Students must make application through A brochure, “Student Guide to Financial plied. If astudentfailstoenroll orceases the Admissions Office for the compe-

Aid Opportunities,” is available upon to be enrolled in the School, he/she shall tition and be legal residents of North request to the Student Aid Office. The forfeit all of the appropriate pro rata Carolina. brochure explains in detail the financial share of the scholarship. Most scholar- 3. North Carolina School of the Arts aid process at NCSA. ships are renewed provided the student students are not eligible; meets the renewal requirements listed in 4 . Nonrenewable, for 1 year only his/her scholarship award letter. If a 5 . Competition is held annually on the scholarship recipient is placed on general North Carolina School of the Arts studies or artistic probation at the end of campus one term of the trimester year and does not raise his/her performance to an Nancy S. Reynolds Merit Awards—$1000 acceptable level by the end of the follow- awards ing term, the pro rata remainder of the 1 . Awarded each year by each arts faculty scholarship may be reduced orcanceled to an outstanding returning student for the balance of the year and not William R. Kenan, Jr. Awards— Four $ 1 000 renewed for the following year. Scholar- and four $500 awards ships and tuition reductions shall be 1 . Awarded each year to outstanding considered as assets toward meeting returning students nominated by the one’s financial need so that the combina- arts faculties and approved by the tion of scholarships and financial aid for Chancellor. an individual student shall not exceed the School’s estimated educational

124 John G. Welch Scholarships— $500 awards Sarah Graham Kenan Schoiarship for Additional Scholarships are awarded from

1 . Awarded each yearfrom nominations Excellence the following sources as funds permit. by the arts deans and approved by the A full scholarship for an all-around col- Barrows Scholarship Chancellor. lege student who demonstrates outstand- Bell Scholarship . Criteria are talent, ability, and arts ing characteristics in talent, academics, 2 Coffeehouse Schoiarship potential and leadership potential will be awarded Daywood Scholarship 3. Nonrenewable each year. The selection criteria are Royes Fernandez Schoiarship available upon request to the Student Forsythe Schoiarship Roanoke-Chowan Group Scholarship— Financial Aid Office. Jephson Scholarship $200 award Fioreiia Keane Schoiarship 1 . Awarded to one high school visual Z. Smith Reynolds Scholarships Mary MacArthur Memorial Scholarship arts student per year Each Arts Faculty has a specific amount Jeaneile Moore Scholarship

2 . Preference to students who are legal which will be used for scholarship pur- Reader’s Digest Scholarship residents of North Carolina poses to encourage talented students to Remke Scholarship 3. Awarded to student who has financial conti nue to develop their talent by attend- Kathleen Tague Memorial Scholarship need ing NCSA. The number and amount of L.P. Whitehead Scholarship Elizabeth Weaver Memorial Scholarship 4 . Nonrenewable these awards are variable. DeWitt Chatham Hanes Scholarship Vittorio Giannini Memorial Awards in C.M. and M.D. Suther Schoiarship Music— $1,000 awards A C.M. and M.D. Suther Scholarship is

1 . Awarded to new or returning high awarded annually to a full-time North school or college students Carolina Resident undergraduate college

2 . Renewable student on the basis of academic stand- 3. Number of new and renewable recip- ing and financial need. Recipients are ients per year selected by the financial aid office. • 2 Composition Awards are non-renewable and vary in • 2 Violin amount according to income available

• 1 Voice from the trust.

4 . Additional scholarships may be awarded Sigmund Sternberger Scholarship if sufficient additional funds are avail- The Sigmund Sternberger Foundation able. provides scholarship funds for Guilford Sarah Graham Kenan Memorial Organ County residents. The awards are based Scholarships— one for $1,500 and two on demonstrated financial need. for $500

1 . Awarded by the MusicSchool Faculty 2. Awarded to new or returning high school or college students

125 N>'

The library is named in honor of Dr. and Mrs. James H. Semans, who have been friends and supporters of the North Caro-

lina School of the Arts since it was established. The Semans Library is located in specially designed quarters in the modern and comfortable Workplace building in the center of the campus.

The purpose of the library is to support the educational programs of the school. Among the services offered by the staff are group instruction, individual help in locating and using information, and inter- library loan.

Special emphasis has been placed on the performing arts in developing the book collection of 72,000 volumes, although there are many books on general subjects. The collection is particularly strong in plays, and in works on theatre history and design, costume, dance, and the literature of music. The music library also has 28,000 scores, including critical editions of the works of the great composers, and 28,000 recordings.

The library subscribes to more than 400 periodicals and has a growing audiovis- ual collection that includes films, film-

strips, video cassettes, and slides. It also houses the school archives.

126 ^ V

Professional Staff:

William D. Van Hoven, Head Librarian (1965) B.A. (English), Houghton College; M.A.T., George Peabody College for Teachers and Vanderbilt University: M.S.L.S., University of North Carolina atChapel Hill. Group Services Librarian at Greensboro Public Library, 1961- 1965. Dwight McLeod, Music Librarian (1982) B.M., M.M. (piano), Manhattan School of Music; M.L.S. Columbia University: Head Li- brarian, Manhattan School of Music, 1951- 1981. Carol Bernasek, Music and Record Cat- aloger (part-time) (1970) Oberlin Conservatory: M B., Salem College: M.M., University of North Carolina at Greens- boro. Held positions at UNC-Chapel Hill Library and Salem College Library. Gayl W. Pearman, Head of Technical Services (1979) B.A., Greensboro College; M.S.L.S., UNC- Chapel Hill. Held library positions at UNC- Chapel Hill and UNC— Greensboro. John L. LeDoux, Archivist (1984)

B.A. (History & Mass Communications), St, Cloud State University. Archivist, Sioux City Public Museum, 1979-81; Archivist, Centre College of Kentucky, 1981-83.

Supporting Staff:

Renee Hanley, Head of Circulation Sarah Saizwedel, Assistant to Music Li- brarian Part-time: Bill Bloxham Rhonda Covington Eleanor Holston Pamela Evans Jean McDonald Teresa Faison Cathy Westmoreland Lillian Ingram

127 The North Carolina School of the Arts fee is not required of those students ning collegecreditdesignedto train stu- offers summer programs in dance, visual already enrolled in the School of the dents in the skills and tools of visual arts, drama, and music, on the Winston- Arts, nor of those who have already paid communication. The curriculum includes Salem campus. the application-audition feeforthe regu- instruction and practice in graphics, draw- larsession. Inquiries should be addressed ing, two-dimensional design, and ceram- The Summer Session accepts students to: Director of Summer School Admis- ics. This is supplemented by critiques, at the junior high, high school, and col- sions, N.C. School of the Arts, Box 12189, introductory lectures in art history, field lege levels. In some instances, students Winston-Salem, NC 27117-2189. tripsand intensive work in theart labora- both older and younger are accepted. tory. Music The Summer Session of the School of Each summer the School of Music pres- Drama the Arts is designed to give students an ents a series of workshops, clinics and The School of Drama offers an intensive opportunity to explore the performing special interest programs for high school course in theatre designed for high school art in which they are interested and in and college-age students. Both promi- students who have some experience in which they show some proficiency. Stu- nent guests and members of the School drama and who wish to explore the field dents who have not yet committed them- of the Arts faculty offer workshops on further. Classes in acting, mime, move- selves to the pursuit of a professional individual instruments and other areas ment, jazz dance, and technical theatre career in one of the performing arts can of music performance. These programs are given. The regular faculty of the use the Summer Session to determine areannounced each yearin January and school is augmented by guest teachers. the degree of their interest and their information is available thereafter. Students may perform in a workshop competence in their chosen field. At the production. end of the Summer Session, many stu- Dance dents are able to decide for the first time The School of Dance offers an intense Information and Applications whether they wish to pursue a full-time program forbeginning, intermediate and More complete information about the training program leading to a career in advanced students which includes tech- Summer Sesions, as well as specific one of the performing arts. Those who nique classes in ballet, pointe, modern, requirements for admission, fees, and wish to attend the regular session of the character classes and dance composi- tuition to the various programs is pub- School are accepted when they success- tion, mime and adagio for advanced lished separately. For further informa- fully pass the required audition. Attend- students. tion about these sessions write: ance at the Summer Session, however, is Also included in the summer dance cur- Dirk Dawson no g uarantee of acceptance for the regu- riculum are classes in music apprecia- Director of Summer School lar session. tion, acting, and dance history. The out- Admissions All applicants, including those who are standing faculty at the School is aug- North Carolina School of the Arts already enrolled in the regular session, mented by guest teachers. P.O. Box 12189 are required to submit application forms. Winston-Salem, N.C. 27117-2189 Visual Arts Completed forms must be returned to 919-784-7170 The Visual Arts Department offers a five- the Director of Summer School Admis- week program for high school and begin- Janice Leonard, Secretary (1975) sions with an application fee of $15. This

128 Artswork In the summer of 1980, NCSA, in cooperation with the Division of Arts Educa- tion of the State Department of Public instruction, began ARTSWORK, a professional workshop for teachers of the arts. The week-long program emphasizes intensive training in a particular art form and is taught by both NCSA and guest faculty. Another important facet of ARTSWORK is the opportunity, in both formal and informal ways, forteachers in the various arts to share concerns and experiences. Elementary and secondary teachers who satisfactorily complete the program earn renewal credits.

Each summer'stopic will vary according to perceived interest and needs.

For additional information, contact Wil- liam Tribby, Coordinator, ARTSWORK, North Carolina School of the Arts, P.O. Box 12189, Winston-Salem, N.C. 27117- 2189.

129 Admissions Performance Auditions February 8, February 22 (College level The first requisite for admission to the only), March 8, March 29 (High School The North Carolina School of the Arts North Carolina School of the Arts is a only). welcomes visitors to the campus through demonstration of talent, achievement and the year. It is to a prospective student’s Design and Production & Visual Arts career potential in the field of dance, advantage, however, to visit while the Audition will be held at the North Caro- drama, music or design and production. School is in session. Interviews may be lina School of the Arts on the following Auditions are held each term during the scheduled with the Admissions Office dates: year at the Winston-Salem campus. Spe- between 9 a. m. and 12 noon and between cific dates are provided with application January 18, February 8, 22, March 8, 29, 2 p.m. and 4 p.m., Monday through 26*, forms. Audition information is listed under April 12, May 10. Friday. dance, design and production, drama Drama Conferences with members of the admis- and music. Auditions will be held at the North Caro- sions staff cannot be assured unless ap- Auditions at the North Carolina School lina School of the Arts on the following pointments are made in advance. Ap- of the Arts dates: pointments may be made by letter or by Consideration of candidates for the North February 2, 9, 16, 23, March 2, 9 calling the Admissions Office at (919) Carolina School of the Arts begins with 784-7170, Extension 2511. Drama League Auditions an audition. Audition standards are set A prospective student should make a (Dates will be available after September, by each arts school. The demonstration careful study of the North Carolina School 1984) of talent, achievement, and career po- of the Arts catalog and be prepared to New York, Chicago, San Francisco. tential are judged for each applicant in ask specific questions at the time of his an audition. Auditions should be sched- Music interview. uled through the Admissions Office. All music auditions, with the exception Dirk Dawson, Director of Admissions of Voice and Brass, will be held on the Sanford Scholarship Competition (1968) following dates: Sanford Scholarship Competition, Fri- B.B.A., Wake Forest University. Studied print- day, January 25, 1985, (open only to November 16, March 1, April 12. making with J.T. Diggs, Past president of North Carolina High School students). Associated Artists of Wi nston-Salem and board Voiceand Brassauditions will be held on member of Associated Artists of North Caro- Four full scholarships to be awarded— the following dates: lina. Former Director of Public Relations and one each in the fields of Dance, Design Alumni Affairs at NCSA. and Production or Visual Arts, Drama November 12, March 4, April 1. Valerie Cobler, Assistant Director of and Music. ‘These dates coincide with the annual Admissions (1967) • Dance Furniture Market in High Point, N.C. Appli- Attended High Point College, North Carolina cants who wish to audition on this date School of the Arts; Acting Registrar/Director Auditions will be held at the North Carol- of Admissions, Central Records Officer, As- ina School of the Arts on the following and who will need hotel or motel accom- sistant to the Registrar, Assistant Coordinator dates: (Off-campus dates will be avail- modations are advised to make reserva- for Preparatory Music Program. able after September 1984). tions well in advance since most area Pat Winebarger, Administrative Secre- hotels and motels will be booked due to tary (1977) the Furniture Market.

130 other Requirements (including 1 unit U.S. History, 1 unit Diploma students may earn entrance to

Each student must present proof of his Government and 1 unit Economics). In the degree program upon satisfactory ability to pursue arts and academic stu- addition, it is recommended that all pro- completion of the minimum acceptance dies through the presentation of a satis- spective students complete at least 2 requirements for the degree program. factory transcript of his school record course units in one foreign language, Special Students and the recommendations of his aca- and that they take 1 foreign language Students enrolled at the college level of demic and professional teachers. course and 1 mathematics course unit in the North Carolina School of the Arts are the twelfth grade. Students must have usually expected to pursue both general College level applicants must present high school diploma or equivalent. Excep- and arts studies leading to a Bachelor of certification of graduation from an ac- tions to these minimum admissions Music or Bachelor of Fine Arts degree or credited high school orthe equivalent of criteria will be made in accordance with those courses leading to the alternative a high school diploma and take the Col- policies established by the Board of Diploma in a particular arts area. Spe- lege Entrance Examination Board’s Scho- Governors of The University of North cial, non-matriculated students not pur- lastic Aptitude Test. Applicants should Carolina. For information contact the suing a degree or diploma program may have the results sent directly to the Office of Admissions. be admitted and allowed to take courses Admissions Office of the School of the Degree Program in an arts or general studies area. Non- Arts. Information about dates of admin- The minimum academic requirements matriculated students may receive credit istration of these tests may be obtained for admission to the program are toward a degree for courses taken, but from the high school principal or from (1) combined SAT scores of 800; high are not eligible to receive a degree or the College Entrance Examination Board, (2) school diploma or equivalent; rea- diploma. Courses in the general studies Box 592, Princeton, New Jersey. Junior (3) sonably acceptable high school record. curriculum are open to non-matriculated high school and high school applicants See individual school for arts require- students, with the approval of the Direc- must present an official transcript from ments. tor of General Studies, when there are the school they are currently attending. vacancies in the class. Admission to an Diploma Program The total program at the North Carolina arts program is by audition. Interested The Diploma program essentially includes School of the Arts emphasizes a solid students should apply through the Admis- arts courses only. The student may be foundation in the liberal arts. Some flex- sions Office. See Admissions Procedure admitted by choice or by failure to meet ibility in specific requirements may be and Special Student Fees. minimum entrance requirements for the allowed in recognition of exemplary degree program. Admissions Procedure talent in the performance field. 1 . Application material, including audi- Academic enrichment work is available We call to your attention that, beginning tion requirements and dates, will be to diploma students by application through in 1988, the high school transcript must sent upon request. Completed appli- the general studies department. include 4 units in English, 3 units in cations and related materials should mathematics (including Algebra I and II All drama diploma students are required be returned to the Office of Admis- and Geometry), 3 units in science to take the freshman English compe- sions with an application/audition fee (including one physical science, one tency test. of $1 5. This fee is non-ref undable and biological science, and one laboratory may not be applied to tuition, fees or science), and 2 units in social studies other NCSA bills.

131 2. Audition/interviews are scheduled on Transfer Students Advanced Placement a regular basis during the school Students who wish to transfer from other Students may qualify foradvanced stand- year. Regular dates are usually set in institutions must comply with audition ing by placement tests. A student who each month beginning with November and entrance requirements listed above, participates in the Advanced Placement and ending with May. Someauditions including the Scholastic Aptitude Test Program of the College Entrance Exam- are held during summer school. Appli- scores required of all college applicants. ination Board may have his record con- cants are urged to audition early in College courses in which a grade of less sidered for advanced placement and/or the school year since quotas may be than C has been earned cannot be credit in the college program when a filled in many areas prior to the sum- accepted fortransfercredit. High school score of 3 or higher has been achieved mer school audition dates. Audition/- transfer students will be given full credit on the official examination. interview dates should be scheduled value for high school units satisfactorily CLEP tests corresponding to courses in through the Admissions Office, and earned in grades 9 through 12 from an the NCSA curriculum may also be pres- should be requested at least two weeks accredited secondary school. ented for evaluation for possible credit. prior to the audition date. The student is placed, upon entrance The Foreign Student Applicant 3. Notification of the Admissions Com- into the School, at a level of arts instruc- Foreign student applicants to the col- mittee’s decision will normally be made tion reflecting past training and expe- lege program mustfurnish TOEFLscores within ten days after the audition if all rience. The student completes the se- orsimilardocumentation of English pro- application materials have been re- quence of arts courses from that point ficiency. Secondary school applicants ceived by the time of the audition. on, regardless of academic or age level. must provide SLEP tests if available or Applicants are urged to request SAT The rate of progress in the arts is deter- other documentation of English profi- scores, transcripts and letters of recom- mined by the individual’s capacity and ciency. All applicants are expected to mendation. development. Students who complete submit either a statement or affidavit of the requirements in their major arts field 4 . Accepted students will receive general financial support. Aforeign student must are eligible for the Diploma. school information and registration not come to the U.S. without guaranteed procedures in the latter part of August. Progression in general studies courses means of support at the level indicated follows the conventional pattern. Re- by the School. Admissions Committee quired general studies courses in junior The Admissions Committee considers and senior high school are the same as each applicant individually and bases its forthose in otherfully accredited schools decision on the general excellence of the in the state. A high school diploma orthe candidate's artistic level of performance, Bachelor of Fine Arts or the Bachelor of the candidate’s school record, arts and Music degree is awarded upon comple- academic achievement and promise, the tion of the requirements, in the degree personality and character of the applicant. program.

132 June R. Putt, Registrar (1974) Class Designation Residency Requirement B.A.. English, University of Connecticut; M.A., A student’s status is officially determined In order to qualify for a College Diploma, Student Personnel Administration in Higher on the basis of his progress in his arts Bachelor of Fine Arts or Bachelor of Education, Cornell University. Graduate Res- area. Level designations are, therefore, Music Degree from the North Carolina ident and Head Resident, Cornell University. based upon a of the of the Arts, one must be regis- Residence Hall Director, Syracuse University. combination number School Assistant Registrar, SUNY College of Envir- of arts course requirements which have tered as a full-time college student for a onmental Science & Forestry. been met and the level of artistic profi- minimum of two years, one of which ciency which has been achieved. must be the student’s graduating year. Lois Siegrist, Secretary (1983)

Lisa Walston, Secretary (1984) Credit Definitions A college student must carry 8 or more Students enrolled in high school pro- credit hours per term in order to clas- Registration takes place at the begin- be grams receive credit in terms of standard sified as a full-time student. ning of each term. Students must show high school units. College credit is awarded evidence of payment of tuition and fees Transfer Students in semester hours. priortoenrolling in courses. All students College transfer students will be placed are required to register and will not be Course Numbering according to ability and experience at granted entry to classes without having In general, courses are numbered such the discretion of the appropriate dean done so. New students will receive instruc- that the first digit reflects the level of the and faculty following review of prior tions regarding times and places of reg- course, with the number one indicating courses and interviews with faculty mem- istration, orientation and placement test- an introductory level. A course with hy- bers. Where applicable, placement tests ing during the summer prior to their phens (as any foreign language course will be administered. Appropriate Ad- arrival at the School. numbered 101-102-103) indicates a three- vanced Placement Credit will be awarded.

term course for which credit is not allowed Normally a transfer student spends at Students who appear for registration at a until the three terms are completed. least two years at the School of the Arts time later than that specified in the School Courses with com mas indicate the courses to qualify for the Bachelor of Fine Arts, calendar are subject to a late fee of $20. which should be taken in sequence. Bachelor of Music Degree or Diploma.

No one will be permitted to register as a (See Residency Requi rements pages 1 37-1 38.) Course Requirements full-time student after the completion of It is the responsibility of the student to the first full week of classes for a given know the requirements for his particular term. Any exception will be by petition to program and, where specific general the Dean of the School involved, in con- studies courses are required, to include sultation with the Director of General these courses in his program. Individual Studies. program requirements are outlined in the appropriate sections of this catalog.

133 Part-Time Degree Students Sheet at Registration, and is not allowed draw from courses by using the Change

Under certain circumstances, a matricu- to register for courses without it. of Schedule form, available from the lated college student may enroll as a Registrar. Add/Drop part-time degree student for a given For one week after Registration, a stu- Course withdrawal without permission term. This status is generally reserved dent may add or drop courses. Course and processing of the appropriate form for college seniors in their last term and changes during this week do not appear will result in an automatic grade of "F” is only granted by special permission of on the student’s permanent record. Stu- for the course. the appropriate dean. Part-time degree dents who wish to add courses should students may carry less than eight cred- Attendance seek permission from the instructors of its and are charged by the credit, accord- Students are expected to attend all their the courses to be added, and from their ing to the schedule of fees for special class meetings, rehearsals and perfor- advisors, who sign the Change of Sched- students. mances, and to arrive on time, prepared ule forms available from the Registrar. to participate fully. Attendance regula- Course Audit Courses for which students have not reg- tions for each program and for individual A regularly registered student may, with istered must be added in order for credit courses within the program are com- the consent of the appropriate dean and to be given. municated to students and kept on file in the instructor, audit one or more courses No high school student will be permitted the appropriate school or department or classes outside his arts area in addi- to drop or add general studies courses office. Students who violate the attend- tion to his regular program. Attendance after registration is completed except ance regulations will be referred to the must be regular. No credit is given. with the approval of the Assistant Direc- appropriate Dean or Director, who will Course Planning and Program Advising torof General Studies (High School) and counsel or discipline the students. Stu-

Each student is assigned an advisor the instructor of the course. dents who miss class frequently must be when he or she enters the School. The prepared to receivea loworfailing grade Course Withdrawal advising system varies from one arts or be advised to withdraw from that A student may withdraw from courses school to another. In some schools the course. for the first six weeks of each ten-week Dean or Assistant Dean acts as the stu- term with the signed approval of the Final Examinations dent advisor: in others, members of the advisor, who will meet with the student Final examinations will take place during faculty are assigned as advisors. to discuss the reasons for the request to a two-day period at the end of each term. Students meet with theiradvisorsduring withdraw. In some cases, the student will An unexcused absence from a final ex- designated weeks toward the end of withdraw from a course on the recom- amination will result in the student’s each term to plan their programs for the mendation of the course instructor or receiving a “O” for that activity and loss following term. The courses each stu- the insistence of the Dean or Director of of make-up privileges. dent selects must be approved by the General Studies. Students are advised to advisor, who signs the Registrar’s Pro- withdraw from courses when successful posed Program Sheet during the course completion appears impossible. The mark planning conference. The student pres- “W” is assigned for courses from which ents the approved Proposed Program students have withdrawn. Students with-

134 Early Departure from School at the End Students who have terminated their enroll- Retention of a Term ment for any reason must apply for Students should consult the catalog sec- Students wishing to leave school before readmission prior to being allowed to tion for their arts programs and for the the end of the term must have permis- register for a subsequent term. Department of General Studies to learn sion from the Dean and present to the the specific grade and quality point re- Leave of Absence Dean written documentation of the neces- quirements for continuance in their pro- A Leave of Absence may be granted for a sity for early departure. The reasons for grams and for graduation. specific period of time for a valid educa- such requests must be stated specifi- tional purpose. Permission for such a Incomplete Course Work cally: by employers for jobs, by parents Leave must be sought by processing the Occasionally because of personal, med- or doctors for urgent medical treatment. appropriate form, available in the Regis- ical or other emergencies that may arise, All students are expected to make travel trar’s Office. Such permission may be a student may be unable to take final arrangements which do not conflict with granted by the appropriate Arts Dean, examinations or juries or complete the scheduled examinations. with the understanding that no credit final assignments for a course. In such High School students should schedulea can be given for studies and/or projects cases, a grade of “Incomplete” may be conference with the Assistant Director undertaken by the student while not offi- requested for one term so that the stu- of General Studies (High School) as cially enrolled in school. No tuition is dent may complete the courses in which soon as they become aware of their need paid for a term during which a Leave of satisfactory progress was being made at for early departure or late return. This Absence has been granted and no appli- the time of the request. The normal time

clearance requires at least a week to cation for readmission is required if the limit to complete the work for a course in complete. student re-enrolls for the term imme- which a grade of “Incomplete” has been diately following the Leave period. given is the end of the term immediately Students who leave campus without full following the term in which the “Incom- clearance will be considered to have Grading System plete” was given. However, an individual unexcused absences. Final grades for courses are sent to stu- faculty member may designate an earlier dents and, when applicable, to their par- Withdrawal from School deadline for making up the incomplete ents or guardians at the end of each Students who wish to withdraw from work. Failure to complete the course- term. Indication of student achievement school during a term must process the work by theend of thefollowing term will is provided by the following grades and appropriate form, which is available- result in a grade of “F” for the course. quality points: through the Registrar’s Office. Students Student Responsibility for Course Work - who withdraw from School during a A 4 1 = (Incomplete) In submitting assignments and projects given term receive no credit for courses B = 3 W = (Withdrew) for courses, students take responsibility taken during that term. Students who C = 2 P = (Pass) for their work as a whole, and imply that, leave school without officially withdraw- D = 1 except as properly noted, the ideas, ing will receive grades of “F” for all F = 0 words, material, and craftsmanship are courses for which they are registered their own. In written work, if students and will forfeit eligibility for refunds of cite from a source of information or opin- tuition or fees. ion other than themselves without giving

135 credit, either within the body of their texts or in properly noted references and without using quotation marks where needed, or otherwise fail to acknowl- edge the borrowings, they have in fact presented the work, words, or ideas of others as if they were their own. Failure to abide by those simple principles of responsible scholarship is dishonest, as is receiving orgivingaidon tests, examinations or other assigned work presumed to be independent or original. A student whose work is found to be dishonestly accomplished and submitted as his or her own for credit will be removed from the course with a grade of “F.”

Student Records All educational records for students are maintained in the Registrar’s Office and are available for student examination, as outlined by the Family Educational Rights and Privacy Act. Students are informed at regular intervals of their current grade point averages and credits accumulated. Students having questions about their progress are encouraged to address these questions to the Registrar.

136 A ^

(3)

The 1983 Manual, which states the resi- "Institution of higher education" means any of the constituent institutions of The dency requirements, policy proce- and University of North Carolina and the dures, and a sample application for in- community colleges and technical insti- tutes under the jurisdiction of the North state residency for tuition purposes, is Carolina State Board of Education. available in the Library. The application (b) To qualify as a resident for tuition purposes, a and appeal procedure is so described in person must have established legal residence that document. For additional specific (domicile) in North Carolina and maintained information, one is directed to the Vice that legal residence tor at least 12 months immediately prior to his or her classification as Chancellor for Academic Affairs, the a residentfortuition purposes. Every applicant Director of Admissions, or the Director for admission shall be required to make a of Student Financial Aid. statement as to his length of residence in the State. General Information (c) To be eligible for classification as a resident for The state of North Carolina, in establish- tuition purposes, a person must establish that her presence in the State currently is, ing the North Carolina School of the his or and during the requisite 12-month qualifying Arts, has undertaken to finance in large period was, for purposes of maintaining a bona measure the artistic education of every fide domicile rather than of maintaining a mere temporary residence or abode incident to enroll- student whose talent potential warrants ment in an institution of higher education. his admission to the School. Fees paid (d) An individual shall not be classified as a resi- by the student cover only a small part of dent for tuition purposes and, thus, not ren- his instruction and of the operation of dered eligible to receive the in-State tuition the School. rate, until he or she has provided such evidence related to legal residence and its duration as may be required by officials of the insti- North Carolina law requires that all delinquent tution of higher education from which the paid in full before student reen- charges be any may individual seeks the in-State tuition rate. roll for a subsequent term or regular trimester or summer term. Enrollment in any of the North Caro- (e) When an individual presents evidence that the lina School of the Arts foreign programs is subject to individual has living parent{s) or court- this same law. appointed guardian of the person, the legal residence of such parent(s) or guardian shall Carolina Statutes Section G.S. 116- North General be prima facie evidence of the individual’s 143.1 Provisions for determining residence status legal residence, which may be reinforced or for tuition purposes. rebutted relative to the age and general cir- (a) As defined this section. under cumstances of the individual by the other evidence of legal residence required of or pre- (1) A “legal resident" or “resident" is a per- sented by the individual; provided, that the son who qualifies as a domiciliary of legal residence of an individual whose parents North Carolina; a “non-resident" is a per- are domiciled outside this State shall not be son who does not qualify as a domiciliary prima facie evidence of the individual's legal of North Carolina. residence if the individual has lived in this for five consecutive years prior to enrol- (2) A “resident for tuition purposes" is a per- State son who qualifies for the in-State tuition ling or registering at the institution of higher rate: a “non-resident for tuition purposes" education at which resident status for tuition is a person who does not quality for the purposes is sought. in-State tuition rate.

137 (f) In making domiciliary determinations related (g) A person who, having acquired a bona fide sistent with bona fide legal residence in to the classification of persons as residents or legal residence in North Carolina, has been North Carolina: and non-residents for tuition-purpose, the domi- classified as a resident for tuition purposes, cile of a married person, irrespective of sex, but who, while enrolled in a State institution of (2) begins enrollment at an institution of higher shall be determined, as in the case of an higher education, loses North Carolina legal education not later than the fall academic unmarried person, by reference to all relevant residence, shall continue to enjoy the in-State term next following comple- evidence of domiciliary intent. For purposes of tuition rate for a statutory grace period. This tion of education prerequisite to admis- this section: grace period shall be measured from the date sion at such institution. on which theculminating circumstancesarose (k) Not withstanding other provisions of this sec- (1) No person shall be precluded, solely by that caused loss of legal residence and shall tion, a minor who satisfies the following condi- reason of marriage to a person domiciled continue for 12 months: provided, that a resi- tions immediately prior to commencement of outside North Carolina, from establish- dent's marriage to a person domiciled outside an enrolled term at an institution of higher ing or maintaining legal residence in of North Carolina shall not bedeemed a culmi- North Carolina and subsequently quali- education, shall be accorded resident tuition (j) nating circumstance even when said resident's status for that term: fying or continuing to qualify as a resi- spouse continues to be domiciled outside of dent for tuition purposes: North Carolina: and provided, further, that if (1) theminorhas lived for five or more con- the 12-month period ends during a semester or secutive years continuing to in (2) No person shall be deemed, solely by such term academic term in which such a former resident reason of marriage to a person domiciled North Carolina in the home of an adult is enrolled in a State institution of higher edu- relative, in North Carolina, to have established or otherthana parent, domiciled in cation, such grace period shall extend, in addi- maintained a legal residence in North this State: and tion, to the end of that semster or academic Carolina and subsequently to have quali- term. (2) the adult relative has functioned during fied or continued to qualify as a resident those years as a de facto guardian of the for tuition purposes: Notwithstanding the prima facie evidence of minor and exercised day-to-day care, legal of individual residence an derived pursu- supervision, and control of the minor. (3) In determining the domicile of a married ant to subsection (e), notwithstanding the pre- person, irrespective of sex, the fact of sumptions of the legal residence of a minor A person who immediately prior to his or her marriage and the place of domicile of his established by common law. and notwith- eighteenth birthday qualified for or was ac- or her spouse shall be deemed relevant standing the authority of judicially determined corded resident status for tuition purposes evidence to be considered in ascertain- custody award of a minor, for purposes of this pursuant to this subsection shall be deemed ing domiciliary intent. section, the legal residence of a minor whose upon achieving majority to be a legal resident parents are divorced, separated, or otherwise of North Carolina of at least 12 months dura- (g) Any non-resident person, irrespective of sex, living who marries a legal resident of this state or apart shall be deemed to be in North tion: provided, that the legal residence of such marries one who later becomes a legal resi- Carolina for the time period relative to which an adult person shall bedeemed to continue in dent, may upon becoming a legal resident of either parent is entitled to claim and does in North Carolina only so long as the person does this State, accede to the benefit of the spouse's fact claim the minor as a dependent pursuant not abandon legal residence in this State. immediately precedent duration as a legal res- to the North Carolina individual income tax (l) Any person who ceases to be enrolled at or ident for purposes of satisfying 12-month dura- provisions of G.S., 105-149(a)(5). The provi- graduates from an institution of higher educational requirement of this section. sions of this subsection shall pertain only to a tion while classified minor who is claimed as a dependent by a as a resident for tuition (h) No person shall lose his or her resident status North Carolina legal resident. purposes and subsequently abandons North for tuition purposes solely by reason of serving Carolina domicile shall be permitted to reen- in the armed forces outside this State. Any person who immediately prior to his or her roll at an institution of higher education as a eighteenth birthday would have been deemed resident for tuition purposes without necessity under this subsection a North Carolina legal of meeting the 12-month durational require-

resident but who achieves majority before ment of this section if the person reestablishes enrolling at an institution of higher education North Carolina domicile and continuously main-

shall not lose the benefit of this subsection if tains the reestablished North Carolina domi- that person; cile at least through the beginning of the academic term(s) for which in-State tuition status upon achieving majority, (1) acts, to the is sought. The benefit of this subsection shall extent that the person's degree of actual be accorded not more than once to any one emancipation permits, in a manner con- person. Tuition Deposit An advance deposit of $50 is required of Partial Housing Payment— New and Re- New students accepted for admission to each student enrolled for the regular turning the School are required to make an academic year who intends to return for College students are required to pay a advance deposit of not less than $100 to the succeeding academic year. This de- $50 partial housing payment when the applied against be the student’s tuition posit is due during the last regular term housing application/contract is sub- and fees forthe academic term for which (spring term) of his current academic mitted. he is accepted. This deposit must be year preceding the next fall academic Returning students are required to pay paid within three weeks of the mailing by year. If the deposit is not paid within this the $50 during the spring term. the School of the student’s notice of period, the applicant shall be assumed to acceptance. If the deposit is not paid have withdrawn, and, if awarded, forfeit The prepayment shall be applied against within this period, the applicant shall be his scholarship and/or financial aid. In the student’s fall housing fee. Proce- assumed to have withdrawn his applica- the event of hardship, the deposit may be dures for refunds are the same as for the tion, and, if awarded, forfeit his scholar- waived by the School at its discretion. tuition deposit. ship and/or financial aid. The deposit shall be applied against the If the applicant, after remitting his de- student’s tuition and fees in the event he posit, decides not to attend the School returns. If he decides not to return to the and gives notice of his decision by May School and gives notice of his decision 1, in the case of application for the fall within thirty (30) days after the day the term, or at least one month prior to the deposit is due, or if the School deter- beginning of the term in the case of mines that he is not eligible to return, the application forthe winter or spring term, deposit shall be refunded. Deposits made the deposit shall be refunded. by students who fail to give notice within the stated 30-day period shall be for- Deposits made by students who fail to feited to the School. give notice of withdrawal to the School as provided above shall be forfeited to the School. ..

Tuition l8t Term 2nd Term 3rd Term Per Year Part-time and Special Student Tuition In-State Out-of-State High School— In-State $ 6 $ 7 $ 7 $ 20 Per Term High School— Out-of-State $393 $393 $393 $1 179 Dance College— In-Slale $244 $244 $244 $ 732 2 classes per day $244 $1000

College— Out-of-State $1000 $1000 $1000 $3000 1 Class per day $122 $500 Part-time and Special Student Tuition In-State Out-of-State

All billed tuition and fees must be paid prior to beginning of (Cont.)

each term for which the student is enrolled. Per Term Music Instruction (Private Lessons) $131 $329

Fees (in addition to tuition Isl Term 2nd Term 3rd Term Per Year Musjc Instruction (Composition Class) ... $ 66 $165 applicable to full-time students) Part-time and Special Student Tuition CREDITS Music Instruction (additional Per Term

charge applicable to all receiving Music (Classroom instruction) 1-3 4-5 6-7 8 or more private music instruction $ 50 $ 50 $ 50 $ 150 In State $ 61 $122 $183 $ 244 Secondary instrument (one-half Out of State $250 $500 $750 $1000 hour lessons) $ 60 $ 60 $ 60 $ 180 Drama Dance Fee $ 7 $ 7 $ 7 $ 21 In State $ 61 $122 $183 $ 244

Design and Production Laboratory Fee . . $ 25 $ 25 $ 25 $ 75 Out of State $250 $500 $750 $1000 Drama $ 66 $ 66 $ 66 $ 198 Design & Production

High School Visual Arts Laboratory Fee . . $ 50 $ 50 $ 50 $ 150 In State $ 61 $122 $183 $ 244 High School Textbook Rental $ 16 16 16 $ 48 Out of State $250 $500 $750 $1000 Rooms (Double Occupancy) $360 $292 $292 $ 944 General Studies (Single Rooms Available only to college In State $ 61 $122 $183 $ 244 level students) $418 $340 $340 $1098 Out of State $250 $500 $750 $1000 Board $498 $405 $405 $1,308 Health and Activity Fees pro-rated by credit hour (optional 'Health (applicable to all students) $ 53 $ 53 $ 53 $ 159 for students taking 1 course only) Damage Deposit $25 Activities (applicable to all students) $ 48 $ 48 $ 48 $ 144 Campus Damage/Library Deposit Audit Fee $10 per course per term (Refundable after end of school year

if no charges are outstanding) On campus residents $ 75 $ 75 Off campus residents $ 25 $ 25 Late Registration Fee ($20) per term Graduation Fee Due at beginning of Term of graduation $ 12 $ 12 Transcript Fee $ 2

I D. Replacements $ 3

‘Health fee covers basic service from the Student Health Center.

Individual laboratory work, prescriptions, and doctor office visits will be billed to the student as the charge occurs. Fee Changes Attendance is counted from the first day Suspension or Unofficial Withdrawal The School reserves the right, with the of required attendance in a term. Frac- Students who are suspended for disci- approval of the proper authorities, to tions of a week count as a full week. No plinary reasons or who do not formally make changes in tuition and other fees at refunds will be madefollowing thefourth withdraw are not eligible for a refund of any time. week. Exceptions to the above may be tuition or fees. reviewed by the T uition and Fees Appeals Inquiries: Questionsconcerning payment The following exception to the refund Committee. Refunds of less than $1 will of fees should be directed to Student policy will be applicable to students not be made. Accounts in the Business Office. receiving funds from the Veterans Ad- Students on Financial Aid who are eligi- ministration underthe provisions of Title Withdrawals ble for a refund upon withdrawal, will 38, United States Code. The amount Students who officially withdraw from have their refunds applied proportion- charged to such persons for tuition, fees, the School will be entitled to a propor- ately to the program(s) from which the and other charges for a portion of the of tuition fees. tionate refund and Stu- funds were disbursed on a percentage of course will not exceed the approximate to the dents withdrawing must present total assistance basis. pro rata portion of the total charges that Business Office notification from the the length of the completed portion of Registrar that they are withdrawing from the course bears to its total length. the School in good standing. Refunds will be made according to the following schedule:

Percentage of Total Tuition & Fees Number of weeks (minus nonrefundable Attendance deposits) to be refunded

1 100% 2 85% 3 65% 4 40%

141 Jane Milley, Chancellor (1984)

B.M., Boston University, 1961; M.A. in music. Columbia University, 1966; Ph.D. in Higher/ Postsecondary Education -Administration, Syracuse University, 1977; private piano student of Claude Frank, Martin Can in and Maria Clodes.

Dean of the School of Fine Arts of California State University at Long Beach, 1982-84; inte- rim dean, 1981-82; associate dean, 1980-81. Arts advisor to the Chancellor of the Califor- nia State University system, 1984. Assistant dean of Humanities and Fine Arts, Sacra- mentoCity College, 1977-80. Member of music faculty of Elmira College, Elmira, N.Y., 1967- 75; serving as assistant professor, director of the Elmira College Early Instrument Consort, coordinator and pianist of Elmira College Fine Arts Trio, director of arts and sciences program.

Recipient of grants from National Endow- ment for the Arts, California Arts Council, TRW Foundation, Pillsbury Foundation, SAFECO, Security Pacific, Chevron, State of California; author of numerous papers and publications; consultant to Chamber Music America; liaison to California Advocacy Coa- lition for Arts Education; president, California Council of Fine Arts Deans; charter member and founder of Sacramento Experimental Theatre; performs as solo pianist and chamber musician.

Member of American Association of Higher Education, Association for Institutional Re- search, Association for the Study of Higher Education, Association of College, University and Community Arts Administrators, College Music Society, International Council of Fine Arts Deans, Kappa Delta Pi, Pi Kappa Lambda.

142 )

Betty Masten, Administrative Assistant Mary L. Childress, Administrative Secre- Ann Howard, Accounting Clerk/Book- to the Chancellor, Asst. Secretary, tary to the Vice Chancellor for Finance, keeping Board of Trustees and Board of Visi- (1979) Patricia Maurer, Accounting Clerk/Stu- tors (1970). Adm. Asst., International Lees McRae College, B.S. Medical Secretary, dent Accounts Receivable Music Program 1971-75. Duke University, Baptist Hospital, NCSA Pur- chasing Department 1979-1983. Member, American Guild of Organists. Phyllis Beckner, Cashier Draughon Business College; Salem College. Renita C. Fowler, Internal Auditori- Doris Southeriand, Mail Center Supervisor Martin Sokoloff, Vice Chancellor for Aca- Accountant (1981 demic Affairs (1970) B.S.B.A., Appalachian State University. Reba Falls, Switchboard Operator/ Recep-

in violin tionist Manhattan School of Music, majored Louis Jones, Jr., Director of Personnel (1975) and viola. Tour manager for Columbia Artists (1977) Management (1950-51). Sales representative Norma J. Barnes, Duplicating Equipment B.S. Music Education, Winston-Salem State, for Community Concert Association. Director Operator (1982) M.S. Guidance Counseling, N.C. A & T State; of Public Relations, later Administrative Direc- Manpower Coordinator, Employment and Train- tor and Director of Performance, Manhattan Lemuel McMorris, Director of Security/ ing Program, City of Winston-Salem (1974-77). School of Music (1951 ). Director of Adminis- Traffic Administrative Officer (1975) tration, (1970), Acting Chancellor Jan- Berdette Malloy, Personnel Assistant NCSA Completed Law Enforcement Courses at Fay- 1974-March 1974. uary (1980) etteville Technical Institute, Forsyth Techni- Ann Roark, Administrative Assistant (1975) Winsalm Business College—Junior Account- cal Institute and Salemburg Justice Academy. ing, NCSA— Secretary to the Supervisor of Thirteen years executive secretarial experi- SECURITY OFFICERS: Plant Maintenance 1980-83, Secretary to the ence in Virginia, Arizona and North Carolina; Donald Bratcher Director of Purchasing 1983-84. NCSA: former secretary to Registrar, Pied- James R. Burns William J. Parrish, Director of Purchas- mont Chamber Crchestra Board of Directors; Billy Logan Administrative Assistant to Vice Chancellor ing (1971) Peggy Long for Administration, Assistant to Chancellor’s BFA, Lighting Design NCSA, Instructor in Donald A. Smith Administrative Assistant, secretary to Deans’ Design and Production, 1970-71; Technical William Murchinson Committee, Faculty Council. Director 1970-71. Glenn Westbrook

Charles B. Nelson, Vice Chancellor for Colleen Hinton, Accounfanf/OWce Super- Robert C. Huber, Director of Physical Finance (1977) visor (1975) Plant/OSHA B.S. Business Administration, The University Louisburg College, graduate in Business Ad- Columbia University, B.S. Mechanical Engi- of North Carolina, Chapel Hill, N.C. Major in ministration. Twenty-five years service in State neering; M S. Mechanical Engineering; Wake Accounting with minor subjects in Industrial Budget Administration with the State Attor- Forest University, Babcock School of Manage- Management, related graduate level studies ney General’s Office and NCSA. ment. Director of Hosiery Research & Devel- at the University of Michigan and Georgia opment for Hanes Corporation; Engineering Jennie Ellington, Accounf/ngf Technician/ Institute of Technology. Experience includes Supervisor for E.l. DuPont Company, Textile twenty-six years in administrative accounting Payroll, Trust Accounts Fibers and Atomic Energy Depts. and management of which seventeen years Minnie Jordan, Secretary were in higher education institutions. Pat Clodfelter, Accounting Clerk/Ac- counts Payable

143 PLANT MAINTENANCE STAFF DEPARTMENT OF PUBLIC RELATIONS DEPARTMENT OF DEVELOPMENT Homer Gough, Supervisor James W. Arnold Janet Fox, Associate Director for Media Samuel M. Stone, Director of Develop- Tony Chisholm Relations, Acting Director of Public ment; Executive Secretary, NCSA Nathaniel Davis Relations (1984) Board of Visitors (1969) John D. Harrison B.A. English, Connecticut College. News B.A. and B.D., Duke University. Danforth John F. Howard reporter, The Sentinel, Winston-Salem, 1973- Foundation Fellowship. Asst. Chaplain, Col- Charles Logan 1984. gate University. D.Min., Union Theological Roger Maurer Seminary (Richmond). Harold W. Pardue Susan Hanley, Graphic Designer (1983) Lonnie Segers B.A. Graphic Design, California College of Gail Brewer, Records Clerk (1984). Arts and Crafts, Oakland, CA., 1979; 1979- Administrative GROUNDS MAINTENANCE STAFF 1982, Graphic Designer for Epcot Center/To- Cecelia T. Cauble, Assis- Craver Bud kyo Disneyland, Walt Disney Enterprises. tant (1977) Thomas Gwyn Formerly Foundations Office, N.C. State Deloris B. Hargrow, Secretary (1983) University. HOUSEKEEPING STAFF B.S. Criminal Justice, Savannah State Col- James L. White, Supervisor lege, and further study at Forsyth Technical Nancy Dawson-Sauser, Director of Com- Howard Carpenter, Assistant Supervisor Institute. munity Services (1975) Laura Bratcher B.A. Philosophy and Sociology, Guilford Col- Ray Davis Jane E. Ward, Public Information Spe- lege: graduate study in child development, Edgar Duncan cialist (1982) Mary Elmore Penn State University; N.C. coordinator and B.A. Sociology, Sweet Briar College, Lynch- lobbyist for ERA United (1974-1975); N.C. James Fair burg, VA. M.Ed., Counseling, Wake Forest president of NOW (1974-1976); Child Devel- Cozy Gaston University. Helen Lewis opment Specialist Developmental Evaluation Walker Lewis Clinic; Bowman Gray School of Medicine McCombs Ligons (1964-1968). James Morrison Frankie Peach Mark E. Land, Associate Director of David Robinson Community Services (APPLAUSE) Curtis Self (1981) William Shore Ballet major at North Carolina School of the Arts, 1976-1978, studying with all resident and guest faculty. Joined the North Carolina Dance Theater in 1978 and toured with them until 1980.

Roger A. Richardson, Associate Director of Development, Administrative Direc- tor, NCSA Foundation (1980) A.B. Syracuse University; M.A., Wake Forest University.

145 Beginning in 1877, the General Assem- The constitutionally authorized Board of John R. Jordan, Jr. (chairman) bly of North Carolina established or T rustees of the six-campus University of Raleigh, NC ten additional separately gov- North Carolina was designated the Board acquired Julia Taylor Morton (vice chairman) this is law The erned state-supported senior institu- of Governors and body by Linville, NC tions of higher education. They are: University of North Carolina. The Board Louis T. Randolph (secretary) Appalachian State University, East Caro- of Governors consists of thirty-two mem- Washington, NC lina University, Elizabeth City State Uni- bers elected by the General Assembly, versity, Fayetteville State University, North and it is charged with “the general deter- Irwin Belk Carolina Agricultural and Technical State mination, control, supervision, manage- Charlotte, NC University, North Carolina Central Uni- ment, and governance of all affairs of the F. P. Bodenheimer versity, North Carolina School of the constituent institutions.” The chief exe- Raleigh, NC Arts, Pembroke State University, West- cutive officer of The University is the ern Carolina University, and Winston- President. Mrs. A. R. Bowe Murfreesboro, NC Salem State University. Then, in 1971, Each constituent institution of The Uni- the General Assembly redefined The B. Irvin Boyle versity has its own faculty and student University of North Carolina and under Charlotte, NC body. The chief administration officer of the terms of the legislation all sixteen each institution is the chancellor, and Mrs. Robert H. Bullock public senior institutions became con- the chancellors are responsible to the Shelby, NC stituent institutions of The University of President. North Carolina. Philip G. Carson Asheville, Each constituent institution also has a NC board of trustees composed of thirteen Laurence A. Cobb members: eight elected by the Board of Charlotte, NC Governors, four appointed by the Gov- Wayne A. Corpening ernor, and the elected president of the Winston-Salem, NC student body ex officio. (The School of the Arts has two additional ex officio Dr. J. Earl Danieley trustees.) The principal powers of these Elon College. NC institutional boards are exercised under John Edwin Davenport a delegation of authority from the Board Nashville, NC of Governors. Walter R. Davis Midland, TX

William A. Dees, Jr. Goldsboro, NC

Charles Z. Flack, Jr. Forest City, NC

146 —

Maceo A. Sloan Durham, NC

Asa T. Spaulding, Jr. Durham, NC

Dr. E. B. T urner Lumberton, NC

David J. Whichard, II Greenville, NC

William K. Woltz Mount Airy, NC

147 North Carolina School of the Arts BOARD OF VISITORS Roger L. Stevens (chairman) Washington, Board of Trustees As an arm of the Trustees, the Board DC Eldridge C. Hanes (vice chairman) assists NCSA in carrying forward plans Winston-Salem, NC for the School’s development. The Board Henry J. Cauthen Mr. Herman Blumenthal undertakes special appeals for support Columbia, SC Charlotte, N.C. and help in numerous to strength- ways Katherine Mrs. Jeanne Brayboy B. DeBraganza en the total educational program. The Charlotte, N.C. Winston-Salem, NC major concentration of effort is on the Mr. J. Harriss Covington Agnes de Mille High Point, N.C. identification and cultivation of potential New York, New York

Mr. Ben T. Craig funding sources as well as advice on John M. Ehle, Jr. Greensboro, N.C. educational enrichment, management, Winston-Salem, NC Mr. Linwood L. Davis Lyons Winston-Salem, N.C. recruitment and communications. The Gray Winston-Salem, NC Mrs. James S. Ficklen members are chosen from alumni and Ronald Grierson Greenville, N.C. friends of the School who have attained Mr. Eldridge C. Hanes (chairman) New York, New York prominence in the arts, business or civic Winston-Salem, N.C. John W. Hanley affairs. Mr. Thomas S. Kenan III (vice chairman) St. Louis, Missouri Chapel Hill, N.C. Rosemary Harris Mrs. Hamilton McKay, Jr. Winston-Salem, NC Charlotte, N.C. Helen Hayes Mrs. Dan K. Moore Nyack, New York Raleigh, N.C. Mrs. Mary D.B.T. Semans (secretary) Gerhard Keil Durham, N.C. Charlotte, NC Mr. Ronald Sustana John Maucieri Winston-Salem, N.C. New York, New York

Secretary Sara W. Hodgkins (ex officio) John G. Medlin, Jr. Department of Cultural Resources Winston-Salem, NC Raleigh, N.C, Mary D.B.T. Semans Mr. Gerhardt Zimmerman (ex officio) Durham, NC Conductor, N.C. Symphony Raleigh, N.C. Thomas Skelton Mr. Philip Rabe (ex officio) Stockton, New Jersey Chairman, Student Advisory Council J. Paul Sticht North Carolina School of the Arts Winston-Salem. NC Winston-Salem, N.C. Mel Tomlinson Dr. James H. Semans (honorary) New York. New York Durham, N.C. Ware Travelstead Winston-Salem, NC Edward Villella New York, New York Ransom Wilson New York, New York

148 Recognition of the School’s excellence in training is exemplified by the alumni, the vast majority of whom are working in careers in the performing arts.

School of Dance Agnes de Mille Heritage Dance Theatre Alberta Ballet Alvin Ailey Dance Company American Ballet Theatre Atlanta Ballet Atlanta Modern Dance Company Ballet Classico de Mexico Ballet El Paso Ballet Geneva Ballet Stadt Theatre (Switzerland) Ballet Trocadero de Monte Carlo Ballet West Bella Lewitsky Dance Company Boston Ballet California Ballet Caracas Ballet Dance Theatre of Harlem Dutch National Ballet Eliot Feld Dance Company Frank Holder Dance Company Geneva Ballet Grands Ballets Canadiens Harkness Ballet Company Houston Ballet

Jeffrey II Dancers Jose Limon Dance Company Kansas City Ballet Le Grand Ballet de Canada Martha Graham Dance Company Merce Cunningham Dance Company Metropolitan Opera National Ballet of Washington Nederlands Dans Theatre New York City Ballet North Carolina Dance Theater Pacific Northwest Ballet Pauline Koner Dance Consort Pearl Lang Dance Company Pennsylvania Ballet Pilobolus Alumnus Mel Tomlinson, premier danseur of the New York City Ballet

149 Santa Barbara Ballet Huntington Theatre Company Scottish Ballet Joffrey Ballet Stuttgart Ballet Kennedy Center Opera Theatre Populaire Ballet de Reims Kings Productions Zurich Opera Ballet Metropolitan Opera MGM Grand In Film and on Broadway Milwaukee Repertory Theatre A Chorus Line New York City Opera Pippin North Carolina Scenic Studios, Inc.

The King and I North Carolina Shakespeare Festival Turning Point Oregon Shakespeare Festival Pacific Northwest Ballet School of Design and Production Pittsburgh Public Theatre Actor's Theatre of Louisville Radio City Music Hall Alabama Shakespeare Festival San Diego Shakespeare Festival Alaska Repertory St. Louis Opera Alley Theatre St. Louis Repertory Alliance Theatre Stuttgart Ballet American Repertory Theatre Tennessee Williams Performing Arts Arena Stage Center Atlanta Ballet Walt Disney Productions Berkeley Repertory Theatre Wolf Trap Bolshoi Ballet Boston Opera Company On Broadway Buffalo Studio Arena A Chorus Line Center Stage Annie Charlotte Opera Barnum Curran Theatre Cats Folger Theatre Dancin Goodman Theatre National Television Guthrie Theatre Houston Stage Outdoor Theatres

Glenn Medas (foreground), Design and ProducUoi

150 School of Drama Off Broadway Television A Bonzo Christmas Carol Commercials La Mama Alice Poor Little Lambs All My Children General Hospital In Regional Theatres Hardcastle and McCormick Alley Theatre Knight Rider Alliance Theatre Mork & Mindy American Alliance Theater American Theatre Projects NBC Movie of the Week Arena One Life to Live Stage Berkeley Repertory Search for Tomorrow Theatre Simon & Simon Berkshire Theatre Festival Taxi Circle Repertory Company The Doctors Cleveland Playhouse The Jeffersons Globe Playhouse Guthrie Theater Winds of War Long Wharf Theatre York Shakespeare Festival In Film New Amadeus North Carolina Shakespeare Festival Animal House Straford Ontario Shakespeare Festival A Wedding Theatre 40 Brainstorm Theater in the Park Emily, Emily Theatre Under the Stars Fiddler on the Roof In Outdoor Theatres Lianna Lost Colony The Long Riders Unto These Hills Ragewar Space Raiders Touring Companies A Chorus Line On Broadway A Christmas Carol A Chorus Line Applause Alice in Wonderland Barnum Annie Grease Barnum Jesus Christ Superstar Candida Slim Goodbody Cats 1776 Equus The Acting Company Fifth of July Friends Radio Hot L Baltimore Joseph and the Amazing Technicolor Dreamcoat mjiMB Marlowe The Little Prince The Royal Family ate, product manager for Rosco You’re a Good Man, Charlie Brown

151 School of Music American Ballet Theatre Atlanta Symphony Berlin Philharmonic Birmingham Symphony Buffalo Philharmonic California New Music Festival Caracas Philharmonic Charlotte Opera Charlotte Symphony Chicago Opera Company Cincinnati Symphony Cologne Chamber Orchestra Dallas Symphony Delft Philharmonic Denver Symphony Detroit Symphony Forum Opera Orchestra Grand Rapids Symphony Houston Grand Opera Indianapolis Symphony Jerusalem Symphony Kansas City Philharmonic Lincoln Center Louisville Symphony Orchestra Metropolitan Opera Miami Philharmonic Minnesota Orchestra National Ballet of Canada Orchestra National Symphony Netherlands Chamber Orchestra

Drama alumnus Thomas Hulce stars as Mozart In the new Milos Foreman film, “Amadeus."

152 New Jersey Symphony New York City Ballet Orchestra New York City Opera New York Metropolitan Opera New York Philharmonic Norfolk Symphony North Carolina Symphony Oakland Symphony Opera Society of Washington Pauline Koner Dance Consort Pennsylvania Ballet Orchestra Philadelphia Orchestra Prague Chamber Orchestra Sacramento Symphony St. Louis Symphony San Diego Symphony San Francisco Philharmonic San Francisco Symphony Santa Fe Opera Seattle Symphony Sylvan Woodwin Quintet Syracuse Symphony Varga International Orchestra Winston-Salem Symphony Worchester Symphony

Recordings: CBS Columbia Artists Mercury RCA Vox

Graduate Ransom Wilson has received worldwide acclaim as a performer and conductor.

153 Institutional Policy Regarding the Family parents of all students, both high school and statements for inclusion in their files if they Educational Rights and Privacy Act college, except in those cases where notifica- feel the decision of the hearing panels to be The Family Educational Rights and Privacy tion of financial independence has been sub- unacceptable. The Registrar will have the re- Act of 1974 is a Federal Law which states (a) mitted. College students who wish to claim sponsibility to coordinate the inspection and that a written institutional policy must be financial independence should, therefore, review procedures for student education records, established and (b) that a statement of adopted check with the Registrar at the beginning of which include admissions, personal, academic, procedures covering the privacy rights of each school year to be sure that this status is a and financial files, as well as those maintained students be made available. The law provides matter of record. Grades for independent by the Arts Deans. that the institution will maintain the confiden- students will be mailed to parents, at the written request of the student. tiality of student education records. Students wishing to review their education The North Carolina School of the Arts accords Within the NCSA Community, only those records must make written requests to the all of the rights under the law to the parents of members, individually or collectively, acting Registrar. Only records covered by the Act high school students who are younger than in the students’ educational interest are allowed will be made available within forty-five days of 18 years of age. At the college level, the rights access to student education records. These the request. Students may have copies made accorded to and the consent required of the members include the Chancellor, Vice Chan- of their records with certain exceptions (e.g., parents shall only be accorded to and required cellors and personnel in the Offices of the a copy of the transcript for which clearance is of the student. For the sake of brevity, further Registrar, Admissions, Student Services, Fi- not given by the Business Office or Office of references will be made to the rights of the nancial Aid, Business Office and that of the Financial Aid, or a transcript of an original or student, with the understanding that the word Deans of each School, including that of the source document which exists elsewhere). "parent” would apply when referring to those Director of General Studies, and faculty mem- These copies would be made at the student’s High School students who are younger than bers within the limitations of their teaching expense at the rate of 1 5 cents per page. Edu- 18 years of age. No one outside the institution and/or counseling function. cation records do not include records of shall have access to nor will the institution instructional, administrative, and educational At its discretion, the institution may provide disclose any information from a student’s personnel which are the sole possession of Directory information in accordance with the educational records without the written con- the maker and are not accessible or revealed provisions of the Act to include: student sent of the student except to personnel within to any individual except a temporary substi- name, address, telephone number, date and the institution, to officials of other institutions tute, records of the law enforcement unit, stu- place of birth, major field of study, dates of in which the student seeks to enroll, to per- dent health records, employment records or attendance, degrees and awards received, the sons or organizations providing students alumni records. Health records, however, may most previous educational agency or institu- financial aid, to accrediting agencies carrying be reviewed by a physician of the student’s tion attended by the student, participation in out their accreditation function, to persons in choice. officially recognized activities and sports, and compliance with a judicial order, to persons in weight and height of members of athletic Students may not inspect and review the fol- an emergency in order to protect the health or teams. Students may withhold Directory informa- lowing as outlined by the Act: financial infor- safety of students or other persons, and to the tion by notifying the Registrar in writing mation submitted by their parents; confiden- parents of those college students are who within after two weeks the Registration Day tial letters and recommendations associated financially dependent as defined by Sect. 152 for Fall Term. Such requestfor nondisclosure with admissions, employment or job place- of the IRS Code of 1954. All of these excep- will be honored by the institution for only one ment, or honors to which they have waived tions are permitted under the Act. academic year; therefore, authorization to their rights of inspection and review; or edu- It should be noted by college students that it withhold Directory Information must be filed cation records containing information about is annually in the our policy to consider all students as finan- Registrar’s Office. more than one student, in which case the cially dependent unless we are specifically The law provides students with the right to institution will permit access only to that part informed by the student or by the Director of inspect and review information contained in of the record which pertains to the inquiring Student Financial Aid that he is independent their education records, to challenge the con- student. The institution is not required to of his parents for purposes related to this Act. tents of their education records, to have a permit students to inspect and review confi- The Office of the Registrar mails a copy of hearing if the outcome of the challenge is dential letters and recommendations placed student following grades each term to the unsatisfactory, and to submit explanatory in their files prior to January 1, 1975, provided

154 .

those letters were collected under established Decisions of the hearing panel will be final, PHOTO CREDITS policies of confidentiality and were used only will be based solely on the evidence pres- for the purpose for which they were collected. ented at the hearing, and will consist of written statements summarizing the evidence and Students who believe that their education stating the reasons for the decisions, and will Rick Alexander 9, 39, 45 records contain information that is inaccurate be delivered to all parties concerned. The or misleading, or is otherwise in violation of Mark Atkinson 113,159 education records will be corrected or amended their privacy or other rights may discuss their in accordance with the decisions of the hear- Michael Avedon 16,21,22,24,103 problems informally with the Registrar. If the ing panel, if the decisions are in favor of the 136, 150, 157 decisions are in agreement with the student’s student. If the decision isunsatisfactorytothe request, the appropriate records will be student, the student may place with the edu- Charlie Buchanan 2, 4, 17, 28. 30, 40 amended. If not, the student will be notified cation records statements commenting on 43, 58, 64, 93, 106, 117, 129 within a reasonable period of time that the the information in the records, or statements records will not be amended; and he will be Steve Davis setting forth any reason for disagreeing with 98 informed by the Registrar of his right to a the decision of the hearing panel. Such state- formal hearing. Students’ requests for a for- Michele Francesconi 62 ments will be placed in the educational records, mal hearing must be made to the Registrar maintained as part of the student’s records, Ken Howard 74 who, within a reasonable period of time after and released whenever those particular records receiving such request, will inform the stu- in question are disclosed. David Reavis . . . 1, 6, 14, 19, 33, 56, 60 dent of the date, place, and the time of the 76, 78, 79. 85, 95, 114 hearing. The student may present evidence A student who believes that the adjudication 119, 120, 121, 126, 127, 152 relevant to the issues raised and may be of his challenge was unfair, or not in keeping assisted or represented at the hearings by one with the provisions of the Act may request, in Jackson Smith . 10, 26, 52, 66 or more persons of their choice, including writing, assistance from the Chancellor. Further, Christian Steiner attorneys, at the student’s expense. The hear- students who believe that their rights have 153 ing panel which will adjudicate such chal- been abridged, may file complaints with the Erika Suderberg 96 lenges will be comprised of the Deans, the Family Educational Rights and Privacy Act Registrar, the Student Government President Office, Department of Education, Washing- Martha Swope . 149 and a faculty member. All aforementioned ton, D.C. 20201, concerning the alleged fail- representatives will be voting members of the ures of the North Carolina School of the Arts Sarah T urner . 72 panel. to comply with the Act.

Revisions and clarifications of this policy will be published as experience with the law and institutional policy warrants.

Records of progress are kept by this institution on veteran and non-veteran students alike. Progress records are furnished the students, veterans and non-veterans alike, at the end of each scheduled school term.

155 A Classroom Building B Student Commons C Agnes de Mille Theatre and Dance Classrooms D Moore Dormitory E Sanford Dormitory F College Dormitories G Design and Production Shops H Administration

I Workplace J Crawford Hall

Halod

Slieet

156 mail to: Dirk Dawson, Director of Admissions North Carolina School of the Arts P.O. Box 12189, 200 Waughtown Street Winston-Salem, NC 27117-2189

APPLICATION REQUEST APPLYING FOR SCHOOL YEAR 19

Please send me an application form for the following (check area for which you wish to apply) Check one only:

MUSIC (7th Grade through College) DANCE (7th Grade through College) DRAMA (College only) _DESIGN & TECHNICAL PRODUCTION (Graduate Program) DESIGN & TECHNICAL PRODUCTION (College only) VISUAL ARTS (High School only) SUMMER SCHOOL INFORMATION

Please indicate your current grade level

If you checked music, designate voice, composition, or your instrument.

Name

Address

Zip Code

Telephone No. Area Code Number

13,000 copies of this public document were printed at a total cost of $17,366,86 or $1.33 per piece.